While he was still very young he joined Raffaello's circle of pupils, becoming the teacher's most faithful follower, to the degree that Raffaello entrusted him with the direction of the decorations of the Logge Vaticane and had him as his collaborator in the Incendio di Borgo in the Rooms (iter 9). To Giulio Romano we owe the painting of other frescoes in the Rooms ( Giuramento di Leone III (Leon III's Oath) and Apparizione della croce a Costantino (Apparition of the cross to Constantine) ), ended after Raffaello's death (1520); his hand is also visible in the lower part of the Trasfigurazione (Transfiguration) that Rafaello had left incomplete. The greatest of the maestro's decorative works was done only after he, to flee from Rome's sacking (1527), had taken refuge in Mantova. Here he received from duke Federico the assignment of building the Palazzo del Tè, an edifice destined to host feasts and banquets, and the Palazzo di Marmirolo that was destroyed. Better than the architectural works done in Rome ( completion of Villa Madama's Country House ) still imprinted according to the schemes of the Renaissance, Palazzo del Tè reveals a sumptuous and fully mannerist scenographic taste. Equally scenographic effects, enriched by an almost romantic emotivity and by the studied research of the horrid, are sought by Giorgio Romano in the pictorial decoration that, with the collaboration of some of his aids, he performed inside Palazzo del Tè, specially in the famed frescoes of the Sala dei Giganti. With results that are not always good, Raffaello's themes are associated to others derived from Correggio or Michelangelo in the numerous altar-pieces produced by Giorgio Romano ( Madonna col Bambino e Santi , Rome, S. Maria dell'Anima ; Madonna col Bambino , Florence, Uffizi; series of the Sacred Family , Dresda, Louvre, Pitti; ecc.