whole work is in fresco, and is executed with much care. But even more remarkably has Baldassare shown the extent of his ability in painting and perspective, by certain pictures in the same church and near the high altar, where he depicted a story for Messer Filippo da Siena, one of the Clerks of the Chamber, representing Our Lady ascending the steps of the Temple, and about to enter that edifice. In this picture there are many figures highly worthy of praise; among others, that of a noble personage arrayed in the ancient manner, and who, descending from his horse, while his servants wait around, presents alms to a poor wretched beggar, totally naked and grievously attenuated, who appears to be entreating charity with the most eager importunity.[1] In this work, also, there is a great variety of buildings, with many very beautiful ornaments of different kinds; the painting, which is in fresco, counterfeits, in like manner with that above-mentioned, decorations in stucco, which go entirely around the whole, and it furthermore appears to be affixed to the wall by means of large nails, as if it were a panel painted in oil.
Among the magnificent preparations made by the Koman people to receive the Duke Giuliano de^ Medici, when the baton of a Commander was conferred on him by Holy Church, were six historical representations, in as many pictures, executed by six different painters, who were all artists of eminence. One of these was by the hand of Baldassare; it was seven canne[2] high, and three and a half broad, the subject chosen, being the betrayal of the Homans by Julia Tarpeia; and this was acknowledged to be, without doubt, the best of them all. But that which awakened astonishment in every beholder was the perspective view or scene which this master prepared for a Theatre, and which was so beautiful that nothing better could possibly be imagined. Such, indeed, were the variety and admirable manner of the buildings, the beauty of the loggie, the fancy exhibited in the doors and windows, the rich arrangement of all the
