From his design, likewise, were made the marble loggie from which the
Pope gives his benediction--a very great work, as may still be seen
to-day. But the most stupendous and marvellous work that he made was the
palace that he built for that Pope, together with the Church of S. Marco
in Rome, for which there was used an infinite quantity of travertine
blocks, said to have been excavated from certain vineyards near the Arch
of Constantine, where they served as buttresses for the foundations of
that part of the Colosseum which is now in ruins, perchance because of
the weakening of that edifice.

Giuliano was sent by the same Pontiff to the Madonna of Loreto, where
he rebuilt the foundations and greatly enlarged the body of the church,
which had formerly been small and built over piers in rustic-work. He
did not go higher than the string-course that was there already; but he
summoned his nephew Benedetto to that place, and he, as will be told,
afterwards raised the cupola. Being then forced to return to Naples in
order to finish the works that he had begun, Giuliano received a
commission from King Alfonso for a gate near the castle, which was to
include more than eighty figures, which Benedetto had to execute in
Florence; but the whole remained unfinished by reason of the death of
that King. There are still some relics of these figures in the
Misericordia in Florence, and there were others in our own day in the
Canto alla Macine; but I do not know where these are now to be found.
Before the death of the King, however, Giuliano died in Naples at the
age of seventy, and was greatly honoured with rich obsequies; for the
King had fifty men clothed in mourning, who accompanied Giuliano to the
grave, and then he gave orders that a marble tomb should be made for
him.

The continuation of his work was left to Polito, who completed the
conduits for the waters of Poggio Reale. Benedetto, devoting himself
afterwards to sculpture, surpassed his uncle Giuliano in excellence, as
will be told; and in his youth he was the rival of a sculptor named
Modanino da Modena, who worked in terra-cotta, and who wrought for the
said Alfonso a Pieta with an infinite number of figures in the round,
made of terra-cotta and coloured, which were executed with very great
vivacity, and were placed by the King in the Church of Monte Oliveto, a
very highly honoured monastery in the city of Naples. In this work the
said King is portrayed on his knees, and he