the fine physiognomy and bodily symmetry which I observed in this young man, I predict that he will accomplish what he says, and think that he will even go beyond it.” The Pope put in: “And this is my opinion also.” Then he called his chamberlain, Messer Traiano, and bade him bring five hundred golden ducats of the Camera. While we were waiting for the money, the Pope turned once more to gaze at leisure on the dexterous device I had employed for combining the diamond with the figure of God the Father. I had put the diamond exactly in the center of the piece; and above it God the Father was shown seated, leaning nobly in a sideways attitude, [3] which made a perfect composition, and did not interfere with the stone’s effect. Lifting his right hand, he was in the act of giving the benediction. Below the diamond I had place three children, who, with their arms upraised, were supporting the jewel. One of them, in the middle, was in full relief, the other two in half-relief. All around I set a crowd of cherubs, in divers attitudes, adapted to the other gems. A mantle undulated to the wind around the figure of the Father, from the folds of which cherubs peeped out; and there were other ornaments besides which made a very beautiful effect. The work was executed in white stucco on a black stone. When the money came, the Pope gave it to me with his own hand, and begged me in the most winning terms to let him have it finished in his own days, adding that this should be to my advantage. Note 1. Vasari calls this eminent engraver of gems Michelino. Note 2. Messer Traiano Alicorno. Note 3. 'In un certo bel modo svolto.' That means: turned aside, not fronting the spectator. XLV