The history of the popes, from the close of the middle ages : drawn ...

Il8 HISTORY OF THE POPES.
adjoining the Borgia apartments. The Torre Pia contains
three chapels, one above the other, which were dedicated to
St. Stephen the martyr, St. Peter Martyr, the Dominican, and
St. Michael, and were richly adorned by Giorgio Vasari and
Guglielmo della Porta.
The chapel of St. Stephen, on the ground floor, and now
adjoining the store-rooms of the Vatican Gallery, still bears
the arms of Pius V. on the door. The frescoes on the walls
represent scenes from the life of the protomartyr ;
his preach-
ing, the healing of a cripple, his distribution of alms, and his
burial. On the frieze, besides the date, 1571, may be seen
the words of the saint in the Acts of the Apostles : "I see
the heavens opened, and the Son of Man standing at the right
hand of God. Lord, lay not this sin to their charge." The
painting on the ceiling shows the heavens opened, with the
most holy Trinity and the choirs of angels. The altar-piece,
which is the key to the other paintings, represents the stoning
of St. Stephen. This latter work of Vasari is now in the
chapel of Nicolas V.^
The chapel dedicated to St. Peter Martyr, and adjoining
del Palazzo," and on October 4, 1567, *it seems that the Pope
wishes to finish the " fabrica di Belvedere " (State Archives,
Vienna). The arms of Pius V., among other things in the Cortile
of the Belvedere, are noted in Chattard, II., 237, 242, 405, 407,
433. One is still preserved on the inside of the doorway of the
Mint.
^ Cf. Vasari, VII., 715 seq. ; Taja, 95 seq. ; Chattard, II.,
XXVIII, 92 seq., 238 seq., 439 seq. ; Lanciani, IV., 8 seq. In
the *books of accounts of the " Deposit, gen. della Camera
Apost." there are entered for the years 1570-1572 many payments
for the " fabrica delle stanze nuove in palazzo apost. acanto a
Torre Borgia," and of the " capelle " there. In spite of the
description, which is very incomplete, which has been given by
Taja, Chattard, and Moroni {IX., 156 seq.), these chapels are now
almost entirely forgotten ;
the first and the third are only accessible
by special permission. For the chapel painted by Vasari with
the help of his pupil, Zucchi, see also Voss, Die Malerei der Sp8.t-
Renaissance in Rom und Florenz, II., Berlin, 1920, 292.