Citation link:
https://digi.ub.uni-heidelberg.de/diglit/vasari1851bd4/0039
GIULIO ROMANO.
31
Giulio was ever profuse in his colouring, it would have been
altogether perfect, but this darkness takes from the work
much of its grace and beauty.* In the painting here in
question, there is a landscape representing the entire declivity
of Monte Mario, with the river Tiber, through which Max-
entius is swimming his horse, in a bold and fierce attitude ;
Giulio has, in short, acquitted himself in such a manner
throughout this picture, that all the artists who have
succeeded him have found the work a great light and
valuable assistance for battles of similar kind. He had him-
self meanwhile acquired much knowledge from the study of
Trajan's pillar, of the column of Antonine, and of other
antique pillars which exist in Rome, and of which he availed
himself largely for the dresses of the soldiers, and for the
arms, ensigns, bastions, stoccades, battering-rams, and other
engines of war, examples of which are to be seen depicted
over every part of that Hall. Beneath these stories, and in
colour to imitate bronze, the master then depicted various
subjects, all of which are beautiful and praiseworthy pro-
ductions. f
On the other side our artist painted Pope Silvester baptiz-
ing Constantine, and here he represented the very baptistery
which is now at San Giovanni Laterano and was erected by
Constantine himself. Here we have the Pontiff, Clement
VII. also, taken from the life and represented as Pope
Silvester, with numerous assistants in their priestly vest-
ments, and a large body of the people. Among the many
attendants of the Pope here taken from nature, was the little
Cavalier Messer Niccolb Vespucci, Knight of Rhodes, who
was at that time all-powerful with his Holiness. Beneath
this story, and in the basement, Giulio painted a group to
imitate bronze, the subject presenting the Emperor Constan-
tine, engaged in the building of the church of San Pietro at
Rome, and alluding to Pope Clement: in this part of the work
are the architect Bramante and Giuliano Lemi, j the latter
* For which reason Mengs accuses Giulio Romano of having a naturally
cold and hard taste.—Ed. Flor., 1832-8.
f The chiari-scuri of this hall, as well as the other frescoes, were ad-
mirably engraved by Pietro Santi Bartoli.
t Or Leno, named by Vasari in the Lives of Bramante and Marc-
antonio. The execution of this work is attributed by some authorities to II
Fattore.
31
Giulio was ever profuse in his colouring, it would have been
altogether perfect, but this darkness takes from the work
much of its grace and beauty.* In the painting here in
question, there is a landscape representing the entire declivity
of Monte Mario, with the river Tiber, through which Max-
entius is swimming his horse, in a bold and fierce attitude ;
Giulio has, in short, acquitted himself in such a manner
throughout this picture, that all the artists who have
succeeded him have found the work a great light and
valuable assistance for battles of similar kind. He had him-
self meanwhile acquired much knowledge from the study of
Trajan's pillar, of the column of Antonine, and of other
antique pillars which exist in Rome, and of which he availed
himself largely for the dresses of the soldiers, and for the
arms, ensigns, bastions, stoccades, battering-rams, and other
engines of war, examples of which are to be seen depicted
over every part of that Hall. Beneath these stories, and in
colour to imitate bronze, the master then depicted various
subjects, all of which are beautiful and praiseworthy pro-
ductions. f
On the other side our artist painted Pope Silvester baptiz-
ing Constantine, and here he represented the very baptistery
which is now at San Giovanni Laterano and was erected by
Constantine himself. Here we have the Pontiff, Clement
VII. also, taken from the life and represented as Pope
Silvester, with numerous assistants in their priestly vest-
ments, and a large body of the people. Among the many
attendants of the Pope here taken from nature, was the little
Cavalier Messer Niccolb Vespucci, Knight of Rhodes, who
was at that time all-powerful with his Holiness. Beneath
this story, and in the basement, Giulio painted a group to
imitate bronze, the subject presenting the Emperor Constan-
tine, engaged in the building of the church of San Pietro at
Rome, and alluding to Pope Clement: in this part of the work
are the architect Bramante and Giuliano Lemi, j the latter
* For which reason Mengs accuses Giulio Romano of having a naturally
cold and hard taste.—Ed. Flor., 1832-8.
f The chiari-scuri of this hall, as well as the other frescoes, were ad-
mirably engraved by Pietro Santi Bartoli.
t Or Leno, named by Vasari in the Lives of Bramante and Marc-
antonio. The execution of this work is attributed by some authorities to II
Fattore.