year 1535, from Civitavecchia to attack Tunis. In the second, the same Pope excommunicates the King of England; this happened in 1537, and the picture is accompanied by an appropriate epitaph. In the third are the Calleys which the Emperor and the Venetians, with the sanction and assistance of the Pope, despatched against the Turks in the year 1538. The fourth exhibits the people of Perugia, entreating pardon from the Church, after having rebelled against it, in the year 1540. The walls of this room exhibit four large Stories, one on each wall; between them are the windows and doors. The first of these pictures represents the great Emperor Charles Y., who, returning victorious from Tunis, kisses the feet of Pope Paul—of the Farnese family; this happened at Pome in the year 1535. In the second is the same Pope at Busetto, where he makes peace between Charles V. and Francis I. King of France, an event which took place in 1538. The portraits in this work are[1]—the elder Bourbon; the Kings Francis and Henry; the elder Lorenzo; Cardinal Tournon; the younger Bourbon; and two sons of King Francis. In the third. Pope Paul makes the Cardinal di Monte, Legate to the Council of Trent, and in this also there are numerous portraits. The last picture, which is between the two windows, has the same Pontiff, who, in preparation for the Council, elects a certain number of Cardinals, among whom are four, who afterwards successively occupied the Papal throne, Julius III. namely, Marcellus, Paul IV., and Pius IV. To say all at a word, this room is adorned with every embellishment best calculated to enrich such an apartment.
The first chamber beside the Hall above-described, and which is a dressing room, is also richly decorated with stucco-work and gilding; in the centre is a Sacrifice with three nude figures, and one of Alexander the Great, who casts vestments of furs upon the fire. There are many other Stories in the same place, some of them exhibiting the discovery of textures for clothing from vegetable substances, but to describe them fully would lead us too far. From this room we enter a bed-room, for which Taddeo, when about to paint it, received the following directions from the Commen-
- ↑ Bottari informs us that the re-touching which these works had undergone had greatly injured them at the time when he wrote, 1759-61, circa.
