The year 1546 having come, he went at the invitation of Cardinal Farnese to Rome, where he found Vasari, who, having returned from Naples, was executing the Hall of the Cancelleria for the above-named Cardinal; whereupon, Tiziano having been recommended by that lord to Vasari, Giorgio kept him company lovingly in taking him about to see the sights of Rome. And then, after Tiziano had rested for some days, rooms were given to him in the Belvedere, to the end that he might set his hand to painting once more the portrait of Pope Paul, of full length, with one of Farnese and one of Duke Ottavio, which he executed excellently well and much to the satisfaction of those lords. At their persuasion he painted, for presenting to the Pope, a picture of Christ from the waist upwards in the form of an "Ecce Homo," which work, whether it was that the works of Michelagnolo, Raffaello, Polidoro, and others had made him lose some force, or for some other reason, did not appear to the painters, although it was a good picture, to be of the same excellence as many others by his hand, and particularly his portraits. Michelagnolo and Vasari, going one day to visit Tiziano in the Belvedere, saw in a picture that he had executed at that time a nude woman representing Danaë, who had in her lap Jove transformed into a rain of gold; and they praised it much, as one does in the painter's presence. After they had left him, discoursing of Tiziano's method, Buonarroti commended it not a little, saying that his colouring and his manner much pleased him, but that it was a pity that in Venice men did not learn to draw well from the beginning, and that those painters did not pursue a better method in their studies. "For," he said, "if this man had been in any way assisted by art and design, as he is by nature, and above all in counterfeiting the life, no one could do more or work better, for he has a fine spirit and a very beautiful and lively manner." And in fact this is true, for the reason that he who has not drawn much nor studied the choicest ancient and modern works, cannot work well from memory by himself or improve the things that he copies from life, giving them the grace and perfection wherein art goes beyond the scope of nature, which generally produces some parts that are not beautiful.