Now this event brought so much reputation to Michelagnolo, that he was straightway summoned to Rome and engaged by Cardinal San Giorgio, with whom he stayed nearly a year, although, as one little conversant with our arts, he did not commission Michelagnolo to do anything. At that time a barber of the Cardinal, who had been a painter, and could paint with great diligence in distemper-colours, but knew nothing of design, formed a friendship with Michelagnolo, who made for him a cartoon of S. Francis receiving the Stigmata. That cartoon was painted very carefully in colours by the barber on a little panel; and the picture is now to be seen in S. Pietro a Montorio in the first chapel on the left hand as one enters the church. The talent of Michelagnolo was then clearly recognized by a Roman gentleman named Messer Jacopo Galli, an ingenious person, who caused him to make a Cupid of marble as large as life, and then a figure of a Bacchus ten palms high, who has a cup in the right hand, and in the left hand the skin of a tiger, with a bunch of grapes at which a little satyr is trying to nibble. In that figure it may be seen that he sought to achieve a certain fusion in the members that is marvellous, and in particular that he gave it both the youthful slenderness of the male and the fullness and roundness of the female--a thing so admirable, that he proved himself excellent in statuary beyond any other modern that had worked up to that time. On which account, during his stay in Rome, he made so much proficience in the studies of art, that it was a thing incredible to see his exalted thoughts and the difficulties of the manner exercised by him with such supreme facility; to the amazement not only of those who were not accustomed to see such things, but also of those familiar with good work, for the reason that all the works executed up to that time appeared as nothing in comparison with his. These things awakened in Cardinal di San Dionigi, called Cardinal de Rohan, a Frenchman, a desire to leave in a city so famous some worthy memorial of himself by the hand of so rare a craftsman; and he caused him to make a Pietà of marble in the round, which, when finished, was placed in the Chapel of the Vergine Maria della Febbre in S. Pietro, where the Temple of Mars used to be. To this work let no sculptor, however rare a craftsman, ever think to be able to approach in design or in grace, or ever to be able with all the pains in the world to attain to such delicacy and smoothness or to perforate the marble with such art as Michelagnolo did therein, for in it may be seen all the power and worth of art. Among the lovely things to be seen in the work, to say nothing of the divinely beautiful draperies, is the body of Christ; nor let anyone think to see greater beauty of members or more mastery of art in any body, or a nude with more detail in the muscles, veins, and nerves over the framework of the bones, nor yet a corpse more similar than this to a real corpse.