whole world being darkened over with plague and war, I had the greatest
difficulty in reaching Mantua. However, in the end, I got there, and
looked about for work to do, which I obtained from a Maestro Niccolo of
Milan, goldsmith to the Duke of Mantua. Having thus settled down to
work, I went after two days to visit Messer Giulio Romano, that most
excellent painter, of whom I have already spoken, and my very good
friend. He received me with the tenderest caresses, and took it very ill
that I had not dismounted at his house. He was living like a lord, and
executing a great work for the Duke outside the city gates, in a place
called Del Te. It was a vast and prodigious undertaking, as may still, I
suppose, be seen by those who go there. [1]

Messer Giulio lost no time in speaking of me to the Duke in terms of the
warmest praise. [2] That Prince commissioned me to make a model for a
reliquary, to hold the blood of Christ, which they have there, and say
was brought them by Longinus. Then he turned to Giulio, bidding him
supply me with a design for it. To this Giulio replied: "My lord,
Benvenuto is a man who does not need other people's sketches, as your
Excellency will be very well able to judge when you shall see his
model." I set hand to the work, and made a drawing for the reliquary,
well adapted to contain the sacred phial. Then I made a little waxen
model of the cover. This was a seated Christ, supporting his great cross
aloft with the left hand, while he seemed to lean against it, and with
the fingers of his right hand he appeared to be opening the wound in his
side. When it was finished, it pleased the Duke so much that he heaped
favours on me, and gave me to understand that he would keep me in his
service with such appointments as should enable me to live in affluence.

Meanwhile, I had paid my duty to the Cardinal his brother, who begged
the Duke to allow me to make the pontifical seal of his most reverend