In his early career in the Church Julius established a reputation as an effective and trustworthy diplomat, and was elected to the Papacy as a compromise candidate when the Papal Conclave found itself deadlocked between the rival French and German factions. As Pope he lost, or failed to show, any of the qualities which had distinguished his previous career, devoting himself instead to a life of personal pleasure and indolence. His lasting fame, or notoriety, rests rather on his relationship with the 17 year old boy whom he raised to the position of Cardinal-Nephew, and, it was said at the time, with whom he shared his bed
At the start of his reign Julius had desired seriously to bring about a reform of the Catholic Church and to reconvene the Council of Trent, but very little was actually achieved during his five years in office; apologists ascribe the inactivity of his last three years to severe gout.
In 1551, at the request of the Emperor Charles V, he consented to the reopening of the council of Trent and entered into a league against the duke of Parma and Henry II of France (1547–59), but soon afterwards made terms with his enemies and suspended the meetings of the council (1553). (For the history of papal conflicts with councils, see conciliar movement).
The Innocenzo scandal
Julius's particular failures were around his nepotism and favouritism. One notable scandal surrounded his adoptive nephew, Innocenzo Ciocchi Del Monte, a 13 or 14-year old beggar-boy whom the future Pope had picked up on the streets of Parma some years earlier and with whom he had allegedly fallen in love.On being elected to the Papacy Julius raised the now 17-year old but still uncouth and quasi-illiterate Innocenzo to the cardinalate, appointed him cardinal-nephew, and showering the boy with benefices
Artistic legacy
Julius spent the bulk of his time, and a great deal of Papal money, on entertainments at the Villa Giulia, created for him by Vignola. Julius extended his patronage to the great Renaissance composer Giovanni Pierluigi da Palestrina, whom he brought to Rome as his maestro di cappella, Giorgio Vasari, who supervised the design of the Villa Giulia, and to Michelangelo, who worked there.