where Don Giulio has woven a maze with the letters of the names of the Saints; and there in the margin above is a Heaven filled with Angels around the most holy Trinity, and one by one the Apostles and the other Saints; and on the other side the Heaven continues with Our Lady and all the Virgin Saints. On the margin below he has depicted with the most minute figures the procession that Rome holds for the solemn office of the Corpus Christi, thronged with officers with their torches, Bishops, and Cardinals, and the most Holy Sacrament borne by the Pope, with the rest of the Court and the Guard of Halberdiers, and finally Castel S. Angelo firing artillery; all such as to cause every acutest wit to marvel with amazement. At the beginning of the Office for the Dead are two scenes; Death triumphing over all mortals, mighty rulers of States and Kingdoms and the common herd alike, and opposite, in the other scene, the Resurrection of Lazarus, and also Death in combat with some on horseback. For the Office of the Cross he has made Christ Crucified, and opposite is Moses with the rain of serpents, and the same Moses placing on high the serpent of brass. For that of the Holy Spirit is that same Holy Spirit descending upon the Apostles, and opposite is the Building of the Tower of Nimrod. That work was executed by Don Giulio in a period of nine years with so much study and labour, that in a manner of speaking it would never be possible to pay for the work with no matter what price; nor is one able to see any more strange and beautiful variety than there is in all the scenes, of bizarre ornaments and various movements and postures of nudes both male and female, studied and well detailed in every part, and placed appropriately all around in those borders, in order to enrich the work. Which diversity of things infuses such beauty into that whole work, that it appears a thing divine and not human, and above all because with his colours and his manner of painting he has made the figures, the buildings and the landscapes recede and fade into the distance with all those considerations that perspective requires, and with the greatest perfection that is possible, insomuch that, whether near or far, they cause everyone to marvel; not to speak of the thousand different kinds of trees, wrought so well that they appear as if grown in Paradise. In the stories and inventions may be seen design, in the composition order and variety, and richness in the vestments, which are executed with such beauty and grace of manner, that it seems impossible that they could have been fashioned by the hand of man. Wherefore we may say, as we said at the beginning, that Don Giulio has surpassed in this field both ancients and moderns, and that he has been in our times a new, if smaller, Michelagnolo.