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Being so huge it would have to be constructed of separate pieces fitted together. This project, evidently intended as a truly Florentine insult to the house of Stufa, did not please Michael Angelo, and his letter, of October 1525, in reply is an instance of his heavy, elephantine humour:— "To my dear friend MESSERE GIOVAN FRANCESCO, priest of Saint Mary of the Flower of Florence, in Rome.
Il Medeghino's brother, Giovan Angelo, rose to the Papacy, assuming the title of Pius IV. Thus this murderous marauder was the brother of a Pope and the uncle of a Saint; and these three persons of one family embraced the various degrees and typified the several characters which flourished with peculiar lustre in Renaissance Italy the captain of adventure soaked in blood, the churchman unrivalled for intrigue, and the saint aflame with holiest enthusiasm.
Giulio and Giovan Francesco, full of joy, set themselves straightway by order of the Pope to finish the above-mentioned Hall of Constantine, and threw to the ground the preparation that had been laid on one wall for painting in oils; but they left untouched two figures that they had painted previously in oils, which serve as adornments to certain Popes; and these were a Justice and another similar figure.
Having been there about two years, he returned to San Marino sick of a quartan fever, which hung upon him two years; of which being finally cured, he set up a wool business of his own, with which he continued up to the year 1535, at which time his father, perceiving that Giovan Battista was in good circumstances, gave him for a wife in Cagli a daughter of Guido Peruzzi, a person of considerable standing in that city.
Giovan Francesco, having drawn Aristotile to Rome, employed him to keep the accounts in a great business that he had of furnaces for lime and works in pozzolana and tufa, which brought him very large profits; and in this way Bastiano lived for a time, without doing anything but draw in the Chapel of Michelagnolo, and resort, by means of M. Giannozzo Pandolfini, Bishop of Troia, to the house of Raffaello da Urbino.
Afterwards, in the altar-piece of the same chapel, Federigo painted the story of the Magi in oils. And then he painted some pictures in a loggia, which are much extolled, at the villa of M. Giovan Battista Pellegrini, between Chioggia and Monselice, where Andrea Schiavone and the Flemings, Lamberto and Gualtieri, have executed many works.
The author of the piece was Antonio Landi, a gentleman of Florence, and the interludes and music were in the hands of Giovan Battista Strozzi, a man of very beautiful genius, who was then very young.
Giovan Battista was something obstinate, so that it was a serious undertaking to move him from any opinion. He took extraordinary pleasure in reading stories, and turned them to very great advantage, writing down with great pains the most notable things in them.
The entry into Bologna, at the end of the 'Iter Julii Secundi' by the Cardinal Adriano da Corneto, has a splendor of its own, and Giovan Antonio Flaminio, in one of the finest elegies, appealed to the patriot in the Pope to grant his protection to Italy. In a constitution of his Lateran Council, Julius had solemnly denounced the simony of the Papal elections.
He then made for the Duke, who desired to construct a sea-port at Pesaro, a very beautiful model; and this was taken to Venice, to the house of Count Giovan Giacomo Leonardi, at that time the Duke's Ambassador in that place, to the end that it might be seen by many of the profession who often assembled, with other choice spirits, to hold discussions and disputations on various matters in the house of the above-named Count, who was a truly remarkable man.
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