The success of the performance was such that six years later (1514), when Giovanni de’ Medici had become Pope Leo X., and Bibbiena had been made cardinal by him, the play was repeated at Rome in the Papal Court for the entertainment of Isabella d’Este, Countess of Mantua. The Pope was persuaded by his cardinal to be present, and again no trouble was spared to secure a look of reality to the stage. Its decoration was entrusted to Perruzzi, who was studying architecture at Rome under Bramante, and whose marvellous talent for perspective equalled his fame as an architect. It was he who designed and built the Farnesina, the ceiling of which Rafael decorated with the history of Cupid and Psyche.
The name of Cardinal Bibbiena is indissolubly connected with the pontificate of Leo X., a period of which contemporaries spoke as the Golden Age restored. Giovio has left a most enthusiastic description of the life at Rome at the time. Art and learning, which had received new impulses, thanks to the determined policy of Julius II., found as liberal a patron in Leo. Bramante was at work raising the walls of St Peter’s, Michael Angelo was painting the Sistine Chapel, Rafael was devoting his energies to the Stanze and the Loggie of the Vatican. And at the same time Sadoleto, the famous Latinist, and his friend Bembo, distinguished alike as historian and art-connoisseur, were attached to the Papal Court in the capacity of secretaries. Pope Leo was surrounded by a circle of men of merit, and in this circle Cardinal Bibbiena played no subordinate part. His advice, we are told, was worth having in serious and in frivolous matters; and, judging from letters extant, he inspired Bembo with warm feelings of affection. We are told that his ready wit made it easy for him at any time to divert Leo, and in the matter of art his tastes fell in with those of his patron. It was for Cardinal Bibbiena that Rafael painted a small chamber in the Vatican Palace which is still known as the Cardinal’s bathroom. It was designed in the style of the antique wall-paintings which had been discovered in the _thermæ_ at Rome. Small scenes were introduced among arabesques on the walls, and the subjects of these scenes were chosen by the Cardinal and recall the interludes of the _Calandra_. On each picture Cupid was depicted, driving sometimes birds, sometimes butterflies or other insects, to show the power of love over the animal world. Cardinal Bibbiena had taken a great fancy to Rafael; he persuaded him to become engaged to his niece Maria Antonia. The painter found he could not refuse though his affections were elsewhere. But he deferred the marriage from year to year, and his premature death cut off the possibility of the alliance.