possible to paint scenes, and therefore there was made a pendant after the likeness of the head-wall opposite. And not wishing to make a base, as had been the custom up to that time with the craftsmen in all their scenes, in order to introduce variety and do something new I caused flights of steps to rise from the floor to a height of at least nine palms, made in various ways, one to each scene; and upon these, then, there begin to ascend figures that I painted in keeping with the subject, little by little, until they come to the level where the scene begins. It would be a long and perhaps tedious task to describe all the particulars and minute details of those scenes, and therefore I shall touch only on the principal things, and that briefly. In all of them, then, are stories of the actions of Pope Paul III, and in each is his portrait from life. In the first, wherein are the Dispatchings, so to speak, of the Court of Rome, may be seen upon the Tiber various embassies of various nations (with many portraits from life) that are come to seek favours from the Pope and to offer him divers tributes; and, in addition, two great figures in great niches placed over the doors, which are on either side of the scene. One of these represents Eloquence, and has above it two Victories that uphold the head of Julius Caesar, and the other represents Justice, with two other Victories that hold the head of Alexander the Great; and in the centre are the arms of the above-named Pope, supported by Liberality and Remuneration. On the main wall is the same Pope remunerating merit, distributing salaries, knighthoods, benefices, pensions, bishoprics, and Cardinal's hats, and among those who are receiving them are Sadoleto, Polo, Bembo, Contarini, Giovio, Buonarroti, and other men of excellence, all portrayed from life, and on that wall, within a great niche, is Grace with a horn of plenty full of dignities, which she is pouring out upon the earth, and the Victories that she has above her, after the likeness of the others, support the head of the Emperor Trajan. There is also Envy, who is devouring vipers and appears to be bursting with venom; and above, at the top of the scene, are the arms of Cardinal Farnese, supported by Fame and Virtue. In the other scene the same Pope Paul is seen all intent on his buildings, and in particular on that of S. Pietro upon the Vatican, and therefore there are kneeling before the Pope Painting, Sculpture, and Architecture, who, having unfolded a design of the ground-plan of that S. Pietro, are receiving orders to execute the work and to carry it to completion. Besides these figures, there is Resolution, who, opening the breast, lays bare the heart; with Solicitude and Riches near. In a niche is Abundance, with two Victories that hold the effigy of Vespasian, and in the centre, in another niche that divides one scene from the other, is Christian Religion, with two Victories above her that hold the head of Numa Pompilius; and the arms