It is true, however, that Battista was not at that time in Urbino, but in Rome, where he was engaged in drawing not only the statues but all the antiquities of that city, and in making, as he did, a great book of them, which was a praiseworthy work. Now, while Battista was giving his attention to drawing in Rome, Messer Giovanni Andrea dell'Anguillara, a man truly distinguished in certain forms of poetry, having got together a company of various choice spirits, was causing very rich scenery and decorations to be prepared in the large hall of S. Apostolo, in order to perform comedies by various authors before gentlemen, lords, and great persons. He had caused seats to be made for the spectators of different ranks, and for the Cardinals and other great prelates he had prepared certain rooms from which, through jalousies, they could see and hear without being seen. And since in that company there were painters, sculptors, architects, and men who were to perform the dramas and to fulfil other offices, Battista and Ammanati, having been chosen of the company, were given the charge of preparing the scenery, with some stories and ornaments in painting, which Battista executed so well (together with some statues that Ammanati made), that he was very highly extolled for them. But the great expenses of that place exceeded the means available, so that M. Giovanni Andrea and the others were forced to remove the prospect-scene and the other ornaments from S. Apostolo and to convey them into the new Temple of S. Biagio, in the Strada Giulia. There, Battista having once more arranged everything, many comedies were performed with extraordinary satisfaction to the people and courtiers of Rome; and from this origin there sprang in time the players who travel around, called the Zanni. After these things, having come to the year 1550, Battista executed in company with Girolamo Siciolante of Sermoneta, for Cardinal di Cesis, on the facade of his palace, the coat of arms of Pope Julius III, who had been newly elected Pontiff, with three figures and some little boys, which were much extolled. That finished, he painted in the Minerva, in a chapel built by a Canon of S. Pietro and all adorned with stucco, some stories of the Madonna and of Jesus Christ in the compartments of the vaulting, which were the best works that he had ever executed up to that time. On one of the two walls he painted the Nativity of Jesus Christ, with some Shepherds, and Angels that are singing over the hut, and on the other the Resurrection of Christ, with many soldiers in various attitudes about the Sepulchre; and above each of those scenes, in certain lunettes, he executed some large Prophets. And finally, on the altar-wall, he painted Christ Crucified, Our Lady, S. John, S. Dominic, and some other Saints in the niches; in all which he acquitted himself very well and like an excellent master.