His earlier works are to be found at Rome, Genoa, and Dresden. Soon after Raphael’s death he was employed in Mantua both as an architect and a painter; and here exist some of his choice productions, as the Hunting by Diana, the frescoes of the Trojan War, the histories of Psyche, and other Love-tales of the gods. Pictures by him are scattered over Europe,—some at Venice, some in the sacristy of St. Peter’s, and in other places in Rome; some in the Louvre, and some in the different collections of England,[69] as the Jupiter among the Nymphs and Corybantes. Whether any of his works were in England during the reign of Elizabeth, we cannot affirm positively; but as there were “sixteen by Julio Romano” in the fine collection of paintings at Whitehall, made, or, rather, increased by Charles I., of which Henry VIII. had formed the nucleus, it is very probable there were in England some by that master so early as the writing of the _Winter’s Tale_, or even before, in which, as we have seen, he is expressly named. It may therefore be reasonably conjectured that in the statue of Hermione Shakespeare has accurately described some figure which he had seen in one of Julio Romano’s paintings. The same rare appreciation of the beautiful appears in the _Cymbeline_, act ii. sc. 4, lines 68–74, 81–85, 87–91, vol. ix. pp. 207, 208, where the poet describes the adornments of Imogen’s chamber:— “It was hang’d With tapestry of silk and silver; the story Proud Cleopatra, when she met her Roman, And Cydnus swell’d above the banks, or for The press of boats, or pride: a piece of work So bravely done, so rich, that it did strive In workmanship and value. . . . . . And the chimney-piece Chaste Dian, bathing:[70] never saw I figures So likely to report themselves: the cutter Was as another nature, dumb; outwent her, Motion and breath left out. . . . . . . The roof o’ the chamber With golden cherubins is fretted: her andirons— I had forgot them—were two winking Cupids Of silver, each on one foot standing, nicely Depending on their brands.” So, in the _Taming of the Shrew_, act ii. sc. 1, lines 338–348, vol. iii. p. 45, Gremio enumerates the furniture of his house in Padua:—