should be known that of this kind of paintings on vases, in so far as we can judge, the Romans had none, for the vases of those times, filled with the ashes of their dead or used for other purposes, are covered with figures hatched and grounded with only one colour, either black, or red, or white; nor have they ever that lustrous glazing or that charm and variety of paintings which have been seen and still are seen in our own times. Nor can it be said that, if perchance they did have such things, the paintings have been consumed by time and by their having been buried, for the reason that we see our own resisting the assaults of time and every other danger, insomuch that it may even be said that they might remain four thousand years under the ground without the paintings being spoilt. Now, although vases and paintings of that kind are made throughout all Italy, yet the best and most beautiful works in clay are those that are wrought, as I have said, at Castel Durante, a place in the State of Urbino, and those of Faenza, the best of which are for the most part of a very pure white, with few paintings, and those in the centre or on the edges, but delicate and pleasing enough. But to return to Battista: for the nuptials of the above-mentioned Lord Duke and Signora Vittoria Farnese, which took place afterwards at Urbino, he, assisted by his young men, executed on the arches erected by Genga, who was the head of the festive preparations, all the historical pictures that were painted upon them. Now, since the Duke doubted that Battista would not finish in time, the undertaking being very great, he sent for Giorgio Vasari--who at that time was painting at Rimini, for the White Friars of Scolca, of the Order of Monte Oliveto, a large chapel in fresco and an altar-piece in oils for their high-altar--to the end that he might go to the aid of Genga and Battista in those preparations. But Vasari, feeling indisposed, made his excuses to his Excellency and wrote to him that he should have no doubt, for the reason that the talents and knowledge of Battista were such that he would have everything finished in time, as indeed, in the end, he did. Giorgio then going, after finishing his works at Rimini, to visit that Duke and to make his excuses in person, his Excellency caused him to examine, to the end that he might value it, the above-mentioned chapel that had been painted by Battista, which Vasari much extolled, recommending the ability of that master, who was largely rewarded by the great liberality of that lord. [Illustration: THE POOL OF BETHESDA (_After the painting by =Jacopo Tintoretto=. Venice: S. Rocco_) _Anderson_]