Taken as a whole, the Palazzo Farnese remains the most splendid of the noble Roman houses, surpassing all the rest in pomp and pride, though falling short of Peruzzi’s Palazzo Massimo in beauty.

The catastrophe of 1527, when Rome was taken by assault on the side of the Borgo without effective resistance being possible, rendered the fortification of the city absolutely necessary.  Paul III determined to secure a position of such vital importance to the Vatican by bastions.  Accordingly he convened a diet of notables, including his architect-in-chief, Antonio da Sangallo.  He also wished to profit by Michelangelo’s experience, remembering the stout resistance offered to the Prince of Orange by his outworks at S. Miniato.  Vasari tells an anecdote regarding this meeting which illustrates the mutual bad feeling of the two illustrious artists.  “After much discussion, the opinion of Buonarroti was requested.  He had conceived views widely differing on those of Sangallo and several others, and these he expressed frankly.  Whereupon Sangallo told him that sculpture and painting were his trade, not fortification.  He replied that about them he knew but little, whereas the anxious thought he had given to city defences, the time he had spent, and the experience he had practically gained in constructing them, made him superior in that art to Sangallo and all the masters of his family.  He proceeded to point out before all present numerous errors in the works.  Heated words passed on both sides, and the Pope had to reduce the men to silence.  Before long he brought a plan for the fortification of the whole Borgo, which opened the eyes of those in power to the scheme which was finally adopted.  Owing to changes he suggested, the great gate of Santo Spirito, designed by Sangallo and nearly finished, was left incomplete.”

It is not clear what changes were introduced into Sangallo’s scheme.  They certainly involved drawing the line of defence much closer to the city than he intended.  This approved itself to Pier Luigi Farnese, then Duke of Castro, who presided over the meetings of the military committee.  It was customary in carrying out the works of fortification to associate a practical engineer with the architect who provided designs; and one of these men, Gian Francesco Montemellino, a trusted servant of the Farnesi, strongly supported the alteration.  That Michelangelo agreed with Montemellino, and felt that they could work together, appears from a letter addressed to the Castellano of S. Angelo.  It seems to have been written soon after the dispute recorded by Vasari.  In it he states, that although he differs in many respects from the persons who had hitherto controlled the works, yet he thinks it better not to abandon them altogether, but to correct them, alter the superintendence, and put Montemellino at the head of the direction.  This would prevent the Pope from becoming disgusted with such frequent changes.  “If affairs took the course he indicated, he was ready to offer