Lives of the Most Excellent Painters, Sculptors, and Architects/Taddeo Zucchero

by Giorgio Vasari

 

TADDEO ZUCCHERO, PAINTER OF SANT’ AGNOLO IN VADO.

[born 1529—died 1566.]

At the time when Francesco Maria was Duke of Urbino there was born to the painter, Ottaviano Zucchero, wh< dwelt in the territory of Sant’ Agnolo, a portion of that state, a male child, to whom he gave the name of Taddeo; and this child having learned to read and write with tolerable accuracy in the tenth year of his age, the father then took him into his own charge, and began to teach him the principles of design. But Ottaviano soon perceived that his son was endowed with a genius of no common order, and might very probably become a much better artist than he believed himself to be; he placed him therefore with a certain Pompeo of Fano, his intimate friend, but a very ordinary painter, whose works as well as manners pleased the young Taddeo so little, that he left him, and returned to Sant’ Agnolo, where he assisted his father (as he did also in other places) to the utmost of his power.

Increasing in judgment, however, as he advanced in years, Taddeo perceived that he could acquire but little under the discipline of his father, whom he also found that he could but slightly assist (although being charged with a family of seven boys and a girl, he much needed help) with the trifling amount of knowledge which he then possessed; he therefore determined to set off for Rome. This he did all alone at the age of fourteen, but being in the first instance known to no one, and not knowing any one himself, he suffered no little discomfort; nay, he seems to have been treated far from well by such few acquaintances as he did make. In this strait he applied to Francesco, called Sant’ Agnolo, who was then working for a daily payment at grottesche for Perino del Vaga, and whom Taddeo approached with all humility, entreating him, since he was a kinsman, to be be pleased to give him aid.

What he desired was, however, not done. On the contrary, Francesco, as kinsmen sometimes will do, not only refused to aid him by word or deed, but even reprehended and repulsed him harshly. Notwithstanding all this, the poor youth did not lose courage, nor did he waver in his purpose, but supported himself, or rather, starved on^[1] during many months in Rome, by hiring himself to grind colours, now in one workshop, and now in another, for miserable wages, and sometimes practising a little drawing, as he best could. It is true that he did at last succeed in fixing himself as a disciple with a certain Calabrian called Giovan Piero, hut he did not derive much profit from doing so, since this man, with his wife, a most ill-tempered woman, kept him to the grinding of colours day and night. They furthermore caused him to suffer from actual want of food, and to the end that he might not have sufiicient for his hunger, or take bread when he desired it, they hung their loaf in a basket suspended from the ceiling and furnished with bells, which jingled whenever the basket was touched, thus serving as a kind of spy to betray such hands as might invade the same. All this would nevertheless have given but little trouble to Taddeo, if he could have been allowed the time to copy certain works of Raffaello da Urbino, which were in the possession of that miserable master of his.

The above-mentioned, and many other strange proceedings, caused Taddeo to leave Giovan Piero, and he then resolved to work for himself, taking refuge among the different workshops of Pome, wherein he had now begun to be known, and expending one part of the week in working to live, while he employed the remainder in drawing, more especially from the works of Raphael, in the house of Agostino Chigi, and in other Palaces of Pome. And as at this time it often happened to him that when the night came he had no place wherein to lay his head, so did he take shelter many a night in the Loggie of the above-named Chigi, or in other places of the same kind. These sufferings did not fail permanently to affect his health, nay, had he not been supported by the force of his youth, they would most probably have killed him altogether; as it was they caused him to fall dangerously ill, and as Francesco Sant’ Agnolo, his kinsman, did not help him then any more than he had done before, the poor Taddeo, that he might not finish his life amidst the wretchedness by which he was then surrounded, was compelled to return to Sant’ Agnolo and to the house of his father.

But not to waste more time over matters which are not of primary importance, and having sufficiently shown the pains and sufferings with which Taddeo acquired his art, I will but say, that being at length recovered, he returned once more to Rome and resumed his studies, but this time he took somewhat better care of himself than he had previously done, and having acquired much knowledge under a certain Jacopone,^[2] he began to obtain some credit. His relative Francesco, who had behaved so cruelly towards him, then perceiving that he was becoming an able man, made friends with him by way of making use of his services, and the good Taddeo, who was of an excellent disposition, forgot all his wrongs, when these two agreed for a certain time, to work together. Taddeo therefore preparing the designs, and both together painting numerous friezes in fresco for chambors and Loggie, they did not fail to help each other considerably.

Meanwhile the painter Daniello da Parino,^[3] who had formerly worked many years with Antonio da Correggio, and had also had much intercourse with the Parmigiano, Francesco Mazuoli, had undertaken to paint in fresco a Church situate at Yitto beyond Sora, on the borders of the Abruzzi; with the Chapel of the Virgin in the same place. He therefore, being in want of an assistant, engaged Taddeo for that purpose, and took the latter with him to Yitto. And herein Daniello da Parino, although not the best painter in the world, was yet of great use to our artist, seeing that, having attained to mature age, and having also observed the methods of Correggio and Parmigiano, and the softness with which they finished their works, he had acquired so much facility of hand that showing those methods to Taddeo and instructing him by his words also, he did him service as we have said; nay, more perchance than he might have done by working before him. In this Church, then, Taddeo Zucchero painted the four Evangelists, two Sybils, two Prophets, and four Stories, of no great size, the subjects of which were taken from the Life of our Saviour Christ and the Virgin Mother.

Having subsequently returned to Rome, it chanced that a certain Roman gentleman, Messer Jacopo Mattel, was conversing with Taddeo’s kinsman Francesco Sant’ Agnolo in relation to a part of his house, which he desired to have painted in chiaro-scuro, when Francesco proposed Taddeo for that office, and on the gentleman remarking that he seemed too young, Francesco replied that a trial might be made of him in two stories, which, if they were not well done might be destroyed, but if satisfactory might remain as a commencement. Having set hand to the work therefore, these two stories proved successful to such a degree that Messer Jacopo was not only satisfied but astonished 4 nay, when the work was completed, which was in the year 1548, Taddeo Zucchero was highly extolled by all Rome, and with very good reason, seeing that since Polidoro, Maturino, Vincenzio da San Gimignano and Baldassare da Siena, there had been no artist who had equalled what Taddeo, still but a youth of eighteen, had there produced. The stories of these works, which were from the Life of Purius Camillus, will be best comprehended hy the following inscriptions. The first is as follows:—

tusculani pace constanti vim romanam argent.

The second:—

m. f. c. signiferum secum in hostem rapit.

The third:—

m. f. c. auctore insensa urbs restituitur.

The fourth:—

m. f. c. pactionibus turbatis praelium gallis nunciat.

The fifth:—

m. f. c. proditorem vinctum falerio reducendum tradit.

The sixth:—

matronalis auri collatione votum apollini solvitur.

The seventh:—

m. f. c. junoni regina: templum in aventino dedicat.

The eighth:—

signum junonis regina: a veiis romam transfertur.

The ninth:—

m.f.c.... anlius dict. decem... socios capit.^[4]

Prom this time until the year 1550, when Pope Julius III. ascended the Papal throne, Taddeo Zucchero was employed in works of no great importance, but from which the gains that he made were nevertheless considerable. In that year, which was the year of the Jubilee, Ottaviano, the father of Taddeo, with his mother and a little son of theirs, came to Rome, partly to take their portion of the most Holy Jubilee, and partly to visit Taddeo. Having passed some weeks with the latter they returned home, leaving with him the boy above-mentioned, who was called Pederigo, to the end that his brother might cause him to study letters, but Taddeo considering his abilities better suited for painting, as has been shown to be the truth, by the admirable progress wliich this Eederigo has made,^[5]—Taddeo, I say, after he had made the child acquire the first principles of learning, then set him to study design, furnishing him meanwhile with better assistance and more ample support than he had himself enjoyed.

Taddeo was meanwhile to paint four Stories behind the High Altar in the Church of Sant’ Ambrosio of the Milanesi; they are in fresco of no great size, represent events from the Life of that Saint, and are accompanied by a frieze of Termini, these last consisting of Boys and Girls.^[6] Immediately after the completion of this work, which was an exceedingly good one, he commenced the decoration of a façade beside Santa Lucia della Tinta, which is near the Orso; this he covered with stories from the Life of Alexander the Great, beginning with his birth, and exhibiting, in five stories, the most remarkable events of his career; this work was very highly commended, although it had to endure comparison with one from the hand of Polidoro, which was close beside it.^[7]

At that time Guidobaldo Duke of Urbino, having heard the fame of this youth, who was his vassal, and desiring to bring the Chapel of the Cathedral of Urbino, of which the ceiling had been painted by Battista Franco, as we have said, to a conclusion, invited his said vassal to Urbino; then the latter, leaving Federigo with persons in Rome who were charged to be watchful over his progress, and doing as much for another of his brothers, whom he placed with some friends who were goldsmiths, repaired to Urbino, and was there received with much favour by the Duke, who instantly laid before him the works which he wished him to design for other places as well as for the Chapel abovenamed. But Guidobaldo, as Captain-general of the Venetian Signoria, had at this time to visit Yerona and the other fortified places of that dominion, wherefore he took our artist with him, and Taddeo then copied for his Excellency that picture from the hand of Raffaello which, as we have related in another place, is in the Palace of the Counts of Canossa. He afterwards commenced a very large picture on cloth for his Excellency; the subject of that work is the Conversion of St. Paul, but this he never finished, and it remains still incomplete in the house of Ottaviano his father.

Having then returned to Urbino, Taddeo recommenced the designs for the Chapel. They were scenes from the Life of Our Lady, as may be seen from certain of them, drawn in chiaro-scuro with a pen, which are in the possession of Federigo. But whether it were that the Duke thought our artist too young, or whatever else may have been the cause, certain it is that Taddeo remained with his Excellency two years without doing anything but some few pictures in a writing chamber or study, at Pesaro, with a great Escutcheon of Arms in fresco, which he painted on the front of the Palace, and the Portrait of the Duke, the size of life, in a large picture, all of which works were very fine ones. At length, however, and when his Excellency was on the point of his departure for Rome, there to receive the Baton of Commander for Holy Church from the hands of Pope Julius III., he left directions with Taddeo, to the effect that the latter should proceed with the above-named Chapel, commanding furthermore, that he should be provided with all that he might require for that purpose. But the ministers of the Duke, proceeding as such men usually do, delaying all things and impeding him at every point, that is to say, caused him at length to leave Urbino, after he had lost two years of his time. He then repaired to Rome, where, having found the Duke, he dexterously excused himself without casting censure on any other person, promising his Excellency that he would not fail to complete the undertaking in due time.

In the year 1551, Stefano Yeltroni of Monte Sansavino, having been commanded by the Pope, and directed by Giorgio Vasari, to adorn with grottesche the apartments of the Yigna which had belonged to the Cardinal Poggio, and were situate on the hill without the Porta del Popolo,—Stefano Yeltroni, I say, summoned Taddeo, whom he caused to paint the central picture of his work. This represented a figure intended to signify Opportunity, who, having taken Fortune by the forelock, is on the point of cutting off the hair with his shears; this is the device of the above-named Pontiff; and in the delineation of the same, Taddeo Zucchero acquitted himself exceedingly well. Subsequently, and when Vasari had prepared the design (which he had done before any of the other artists), for that Court and Fountain in the new Palace, afterwards carried into execution by Vignola and Ammannato, the masonry being undertaken by Baronino, and many pictures being painted therein by Prospero Fontana,^[8] as will be related hereafter; on that occasion I say, Taddeo Zucchero was also frequently employed, and this was the cause of future benefit to our artist, seeing that the Pope, being highly satisfied with his methods of proceeding, gave him further occupation. This was in the Belvedere, and consisted in small figures, which serve as the friezes of the apartments, together with an open Loggia; which stands behind that turned towards Rome, and where Taddeo painted all the Labours of Hercules, in figures as large as life. This work which was in chiaro-scuro, was destroyed under the Pontificate of Paul IV., for the purpose of building a Chapel with certain chambers on the site of the Loggia.

At the Vigna of Pope Julius, and in the principal apartments of the Palace, Taddeo painted Stories in the centre of the ceilings; one, representing Mount Parnassus, may be more particularly mentioned. In the Court of this Vigna likewise, our artist executed two Stories in chiara-scuro; they represent the Rape of the Sabines, and stand one on each side of the marble door which enters the Loggia, at that point where the descent to the Fountain of the Acqua Virgine commences. All these works were highly and deservedly extolled,^[9]

Now Federigo Zucchero had repaired to Urbino while Taddeo was at Verona with the Duke Gruidobaldo, and between that place and Pesaro he had continued to abide from that time; but Taddeo caused him to return to Rome after the completion of the pictures above-named, and there he availed himself of the services of the youth on a large frieze and other decorations in the Great Hall, which were then in process of execution. Federigo laboured also in the Palace of the Giambeccari family, whose house is above the Piazza di Sant’ Apostolo. Taddeo likewise caused him to paint other friezes, which he was then preparing, at the Obelisk of San Mauro, for Messer Antonio Portatore. These works were very rich in figures and other ornaments, and were considered exceedingly beautiful.

During the Pontificate of Pope Julius, Maestro Mattinolo, the Master of the Post, had bought a piece of ground in the Campo Marzio, where he had built a very commodious house, the front of which he now caused Taddeo to paint in chiaroscuro. Here our artist depicted three Stories relating to Mercury, the Messenger of the Gods, which were very beautiful; the remainder of the decorations he made others execute from designs by his own hand. Meanwhile, Messer Jacopo Mattel had caused a Chapel to be built in the Church of the Consolation, which is beneath the Capitol, and gave it, knowing the abilities of Taddeo, to that artist to paint: and this he undertook to do very gladly, although the price was but moderate, because he wished to prove to certain persons who had declared him unable to execute anything but fa9ades and other works in chiaro-scuro, that he could handle the colours also.

Having set hand to this work therefore, Taddeo would never go to it except at such times as he felt himself fully disposed, and in the humour to do something good, employing the remainder of his time on works which did not interest him so much on the score of his honour; in this leisurely manner he completed the same, after having been occupied on it during four years. In the ceiling he depicted four Stories in fresco, from the Passion of Our Saviour Christ. They are not of great size, but are so admirable from the rich originality of the invention, the correctness of the design, and the beauty of the colouring, that the artist was seen to have herein surpassed all his previous efforts.

The subject of this portion of the work is the Last Supper, the Washing of the Feet, the Prayer in the Garden, and the Betrayal by Judas.

On one of the sidewalls, in figures the size of life, we have Christ Scourged at the Column; and on the other is Our Saviour brought out to the people by Pilate, with the words Ecce Homo. Over this last, and within an arch, is Pilate washing his hands; and on the opposite side, also within an arch, is Christ led before Annas. On the wall behind the Altar, is the Crucifixion of our Lord with the Maries at the foot of the Cross and our Lady in a swoon. Beside the Virgin Mother stand certain of the Prophets, and in the arch above the ornaments in stucco are two Sybils; these four figures last-mentioned appear to be holding discourse concerning the Passion of Christ. There are besides four half-length figures in the ceiling, intended to represent the four Evangelists; and these also, which are accompanied by decorations in stucco, are very beautiful. When the work was given to view, which happened in 1556, Taddeo was but twenty-six years old, and the performance being then, as it still is, considered a singularly fine one, he was at once declared by the artists to be an excellent painter.

That undertaking being finished, Taddeo Zucchero was commissioned by Messer Mario Frangipane, to paint a chapel which he had in the church of San Marcello; and on this occasion, as on many others, Taddeo employed many of those young artists from distant parts, who are constantly to be found in Pome, and who go about working for daily wages, not only to gain their bread, but to learn their art also. Our artist likewise painted certain apartments in fresco in the Palace of the Pope, those which are occupied by the Cardinal Carafia namely, and which are situated in the great tower over the guard-room of the Lansquenets. This work he executed under the Pontificate of Paul lY.; as he did also some small pictures in oil: among these were two, the Nativity of Christ, and the Flight into Egypt, which were ultimately sent to Portugal by the Ambassador of that country.

It then happened that the Cardinal of Mantua desired to have the interior of his palace, which is situated near the Portuguese arch, adorned with paintings, which he desired to have executed with great rapidity; he therefore entrusted that work to Taddeo Zucchero, to whom he agreed to pay an appropriate remuneration; when our artist, setting hand to the same with a large number of assistants, conducted it in a short time to completion, and herein he did not fail to evince great judgment in the use which he made of so many heads, all united to expedite so great a work; he displayed so much knowledge, moreover, in the arrangement of the different manners, that the whole undertaking appears to have been executed by one hand. At a word, our artist satisfied the Cardinal perfectly, and at the same time disappointed the expectations of those who had believed him unequal to the charge of so great a work.

In like manner Taddeo painted stories of figures in fresco to decorate certain niches of the chambers in the palace of Messer Alessandro Mafiei, which is near the Botteghe Scure, causing his brother Federigo to execute certain other stories, to the end that the latter might become accustomed to working for himself. Wherefore, encouraged by this, Federigo painted a Mount Parnassus entirely alone, a work which he accomplished in the house of a Roman gentleman called Stefano Margani, whose dwelling is at the foot of the steps which lead to the Ara Coeli. When Taddeo perceived that Federigo could thus proceed by himself, and prepare his own designs, almost entirely without aid from any one, he procured him a commission for the painting of a Chapel from the men of the Company of Santa Maria dell’ Orto-a-Ripa in Rome, but making it almost appear that he intended to execute the work himself, since it was certain that to Federigo alone the commission never would have been given, he being still but a youth, and to satisfy those men Taddeo did paint a Nativity of Christ in that chapel; but the rest was entirely executed by Federigo alone; the latter acquitting himself in such a manner as to give evidence of the ability which is now made manifest in his works.^[10]

About the same time, the Duke of Guise, who was then at Rome, desiring to find a good painter and able man, who might paint a palace which he had in France, Taddeo was proposed to him for that purpose, whereupon, having seen certain of his works, and his manner having pleased His Excellency, the Duke agreed to give him a stipend of 600 crowns per annum, and it was settled that Taddeo, when he had finished his works then in hand, should proceed to France and enter his service. And so, indeed, our artist would have done, the money for his outfit and expenses having been deposited in a bank for that purpose, if the wars which immediately succeeded had not broken out in France, and if that Duke himself had not died very soon afterwards. Taddeo then returned to the work of Frangipane in San Marcello, but was not able to continue it without interruption for any long time, because the Emperor Charles V. having also died, and orders having been given for the solemnization of magnificent funeral rites in Rome (that Monarch being Emperor of the Romans), Taddeo was called on to paint stories from the Life of Charles, with numerous trophies and other ornaments, all which, executed with great beauty and decorum, our artist completed in the space of twenty-five days. For this labour, therefore, and for that of Federigo and the other assistants whom he had employed, Taddeo received the sum of 600 golden crowns.

No long time after these things, Taddeo painted two large chambers at Bracciano for the Signor Paolo Giordano Orsini; they were richly decorated in gold and stucco-work, and the subjects of the pictures executed by our artist were the Loves of Cupid and Psyche in one room, and in the other Stories from the Life of Alexander the Great. These last had been commenced by other artists; but of those which remained to be done, he caused Federigo his brother to take charge; and the latter acquitted himself therein to his great credit. For the Signor Stefano del Bufalo, Taddeo then painted certain frescoes in a garden near the fountain of Trevi, the Mount Parnassus namely, with the Muses around the Fountain of Castaly; this work also was considered a very fine one.

Now, the Superintendents of Works to the Cathedral of Orvieto, had caused certain Chapels to be constructed in the Nave of their Church, as we have related in the Life of Simone Mosca, with ornaments of marble and stucco-work: they had besides commissioned Girolamo Mosciano of Brescia to paint some pictures therein, being induced thereto by the intervention of friends; but having now heard of the reputation of Taddeo Zucchero, they invited him to Orvieto, whither he repaired accordingly, taking with him Federigo. Having commenced his labours in that city, therefore, our artist executed two colossal figures; one representing Life in Action, the other Life in Contemplation; both executed with the bold facility of hand peculiar to this artist, and always seen in such works as he had studied but little. While Taddeo was engaged with these, Pederigo painted three stories from the Life of St. Paul in the recess of the same chapel. These paintings were but just completed, when the brothers both fell sick, and left Orvieto, but with the promise to return in the month of September. Taddeo then repaired to Rome, and Pederigo to Sant’ Agnolo, where he arrived with a slight fever; but having been cured of this at the end of two months, he also then proceeded to Rome.

Passion week was then approaching, and the two brothers painted the whole Passion of Christ in Stories of chiaroscuro within the space of four days; the occasion of the work was a magnificent solemnity prepared for Holy Thursday and Good Priday, and the site thereof was the Oratory of Sant’ Agata, which is behind the Banchi, and belongs to the Company of Sant’ Agata dei Piorentini; the paintings occupied the whole of the ceiling and recess, and there were figures of prophets and other decorations which astonished all who beheld them.^[11]

The Cardinal Alessandro Parnese having then brought his Palace of Caprarola to a happy termination, under the care of the architect Vignola, of whom we shall speak further shortly, gave the commission for painting the whole to Taddeo Zucchero, and the conditions of their agreement were as follows:—Taddeo was not to resign the engagements which he had in Rome, but was himself to make all the designs, cartoons, divisions, and arrangements for whatever works were to be executed in that place, whether in painting or stucco. Furthermore, Taddeo was to select the men who were to be employed, but all these men were to be paid by the Cardinal. Taddeo was to repair to Caprarola to work there himself during two or three months of the year, and was to proceed thither at other times whenever his presence should be required, and to see how the whole affair was proceeding; he was also to retouch such of the paintings as were not to his mind: for all this the Cardinal engaged to pay him a stipend of two hundred crowns yearly.

And now, having an appointment so considerable, with the favour of so great a Noble, Taddeo resolved to give himself some quiet of mind, and determined no longer to accept, as he had hitherto done, all the most abject works that could be proposed to him in any part of Rome; being moved thereto principally by his desire to escape the reproaches addressed to him by many of the art, who declared that a certain avaricious rapacity had caused him to undertake whatever offered, that he might make large gains by the labour of others; whereas it would have been more creditable to him had he left these things to be done by those who were seeking support and opportunity for study from such works, as he had himself done in his first youth. But against these reproaches Taddeo defended himself by declaring that what he did was on account of Federigo, and of that other brother, the care of whom he had also on his shoulders, and for whom he wished to secure the means of learning his profession.

Having however, now resolved to restrict his operations, he set himself to serve the Farnese, and to finish the Chapel of San Marcello, but he procured from Messer Tizio da Spoleti, the Master of the Household to that Cardinal, a commission for his brother Federigo, the fa9ade of a house namely, which Messer Tizio had built on the Piazza of the Dogana, near Sant’ Eustachio, a circumstance which greatly rejoiced Federigo, who had long desired nothing more earnestly than to have some work which should be altogether his own.

On this front then, Federigo painted the Story of Sant’ Eustachio, causing himself to be baptized, together with his wife and children, and in the centre of the story, which is an excellent work, he represented the same Saint, when, being at the Chase, he beholds the figure of Our Saviour Christ on the Cross between the horns of a Stag.^[12] But when Federigo executed this picture he was but twenty-eight^[13] years old, wherefore Taddeo, who reflected that these paintings were in a very public place, and that the credit of Federigo was at stake, not only went often to see how he was proceeding, but would frequently retouch and amend certain parts with his own hands.

This was endured patiently for some time by Federigo, but one day he fell into a transport of rage, and seizing a hammer, he dashed something—I know not what—that had been painted by Taddeo, to pieces, and in his anger remained several days before he would return to the house. These things becoming known to their friends, the latter took such measures that the brothers were eventually reconciled, with the understanding that Taddeo might correct or retouch the designs or cartoons of Federigo at his pleasure, but was not to lay a hand on the works which the latter was executing in oil, in fresco, or in any other manner.

Having finished the painting of the above-mentioned house, Federigo was universally extolled, and the work acquired for him the reputation of being an excellent painter. Taddeo was then commissioned to restore those Apostles which had been long before executed in terretta by Raffaello, in the Sala dei Palafrenieri, but which had been destroyed by order of Paul IV.; having completed one of these figures, Taddeo then caused all the others to be executed by Federigo, who acquitted himself exceedingly well in that work also. They afterwards painted in company a Frieze in one of the Halls of the Palace at the Ara Coeli; this was a fresco in colours. Now it was about this time that the treaty was in progress for giving the Signora Donna Virginia, daughter of the Duke Guidobaldo of Urbino, as a wife to the Signor Federigo Borromeo, when Taddeo was sent for to take the Portrait of the lady, which he did to admiration. Before his departure from Urbino he also prepared all the designs for a Credenza, which Duke Guidobaldo subsequently caused to be made at Castel Durante, and sent to Philip King of Spain.

Returning to Pome, Taddeo presented the portrait of Donna Virginia to the Pope, who was greatly pleased therewith; but such was the discourtesy of the Pontiff, or of his ministers, that the poor artist was not paid even the expenses which he had incurred. In the year 1560, the Pope expected the Signor Duke Cosimo, with the Signora Duchess Leonora his Consort to pay him a visit; and intending to lodge their Excellencies in the rooms which had been erected by Innocent VIII. (and which look on the first Court, as well as on that of San Pietro, having Loggie in front of them, which look on the Court of the Benediction), the care of such pictures and other ornaments as were required for that occasion was given to Taddeo, who was also commissioned to gild the new ceilings by which the old ones, ruined by time, had been replaced. In this certainly great and important work, Tederigo, to whom his brother confided almost the entire charge of the same, acquitted himself exceedingly well, but he incurred a great danger in the execution thereof, for, while he was painting grottesche in the above-mentioned Loggia, he fell from a scaffold, and was for some time in danger of losing his life.

No long time after this, the Cardinal Emulio, to whom the Pope had entrusted the care of the matter, commissioned numerous young artists, to the end that the work might be rapidly accomplished, to paint the small Palazzo which is in the wood of the Belvedere, and which was commenced under the Pontificate of Paul lY., being adorned with many ancient Statues and a beautiful Fountain; the architecture and design by Pirro Ligorio. The young men who worked (to their great honour) in that place, were Federigo Barocci of Urbino, a youth of the highest hopes, with Lionardo Cungi and Durante del Nero, both of Borgo San Sepulcro, who executed the paintings in the rooms of the first floor. The Florentine painter Santi Titi, painted the first room above the spiral staircase, acquitting himself admirably well, and the principal apartment, which is near that just mentioned, was painted by the above-named Federigo Zucchero the brother of Taddeo; one beyond it being entrusted to the Sclavonian, Griovanni dal Carso, an excellent master of grottesche.

But although each of the above-named artists acquitted himself exceedingly well, they were nevertheless all surpassed by Federigo Zucchero in certain Stories which he painted from the Life of Christ; the Transfiguration for example, the Marriage of Cana in Galilee, and the Centurion kneeling before Christ. There were still two Stories remaining, and these were executed, the one by Orazio Sammacchini, a Bolognese painter, and the other by Lorenzo Costa of Mantua. The small Loggia, above the Fish-pond in the same place, was painted by Federigo Zucchero, and he afterwards executed a Frieze in the principal Hall of the Belvedere, that namely which is attained by the spiral staircase, and which exhibits stories of Moses and Pharaoh, which are really beautiful. Of this work Federigo, no long time since, gave the design, drawn and painted by his own Imnd, to Don Yincenzio Borghini, by whom it is very highly prized as the work of an excellent painter. In the same place this artist also painted the Angel destroying the firstborn of Egypt, availing himself of the aid of many assistants, that the work might be the more rapidly finished.

But when the labours above-described were estimated, the toils of Eederigo and of the other young men, were not considered, as they ought to have been, seeing that there are many among our artists, whether in Rome, Elorence, or elsewhere, who, blinded by envy, will not acknowledge the merits of others, yet are not by any means aware of the defects existing in their own works; but such persons often cause the rising genius of many a youth to be repressed, while they make others cool in their studies and become negligent in their modes of operation.

At a later period Eederigo painted two figures larger than life in the Office of the Ruota; these represented Justice and Equity, being used in the manner of supporters to the Arms of JPope Pius lY.: he was very highly commended for this work, and during the time when Eederigo was occupied therewith, Taddeo Zucchero was engaged in the completion of his engagement at Caprarola, and was proceeding with the Chapel of San Marcello. His Holiness meanwhile having determined that the Hall of the Kings should by all means be finished, after the many contentions which had arisen respecting it between Daniello and Salviati, as we have related, gave at last a command to the Bishop of Eorli, to the effect that what he desired should be accomplished: the above-mentioned Prelate thereupon wrote to Vasari, (and this was on the 3rd of September, 1561), giving him to know that the Pope, resolving to finish the Hall of Kings, had commanded him, the Bishop, to find men for the same, who should rid his hands once for all of that work. He added that, moved by their ancient friendship and by other causes, he now begged Giorgio to repair without delay to Rome, if he could obtain the good pleasure and permission of the Duke his Lord, seeing that he might thereby give satisfaction to His Holiness, while he secured honour as well as profit to’himself. The Bi^iop requested, moreover, that a reply to this letter might be returned as speedily as possible.

The answer of Vasari was to the effect that he was doing exceedingly well in the service of the Duke, by whom his labours were remunerated in a manner altogether different to that which he had experienced in Rome and from the Pontiffs. Vasari added, that things being so, he had determined to continue in the service of his Excellency, for whom he was about to commence a much larger Hall than was that of the Kings: he furthermore remarked that, as to the matter in question, the Bishop need suffer no want of men in Rome who were fully capable of serving him. Having received that reply from Vasari, and having conferred respecting the whole matter with His Holiness, it was finally determined that the Cardinal Emulio should undertake the distribution of the work; when it was divided, as has been declared, among numerous young artists, some of whom were already in Rome, while others had to be summoned from other places.

The two prineipal Stories of the Hall were given to Giuseppe Porta, of Castelnuovo in the Garfagnana, who was a disciple of Salviati; while to Girolamo Sicciolante, of Sermoneta, was also given one large picture with another of smaller size. The Bolognese Orazio Sammacchini likewise received a small story, as did Livio da Forlì,^[14] and the Bolognese Giovan Battista Fiorini,^[15] all which coming to the ears of Taddeo, and he knowing that he had been excluded because the Cardinal Emulio had been told that he thought more of gain than of glory, or of the complete execution of his works, now used all his interest with Cardinal Farnese, to the end that he also might obtain a share of the work. But Farnese, not wishing to take any part in the matter, replied that the labours then in progress at Caprarola might sufiice Taddeo for that time, and declared moreover that he did not think his^ the Cardinal’s, works ought to be neglected on account of the emulation and strife awakened among the artists by that Hall of the Kings. He added, that when works of art were carefully executed, it was those productions that gave name to the place they occupied, not the place that gave a name to them.

Notwithstanding all this, Taddeo pressed the matter so much with the Cardinal Emulio, that he did finally obtain a small picture over one of the doors; but not all his importuinty, nor any other of the means employed by him, availed to procure him one of the larger stories. And in this respect it has been said that Emulio acted with foresight, since it was at that time his hope that all the other artists were to be surpassed by Giuseppe Salviati, and he was disposed to give him the whole work, nay, even to destroy all that had been done by others, if there should appear to him to be good cause for so doing. But when each of the artists had brought his work towards completion, the Pope desired to see them, and all being given to view he perceived, that Taddeo had acquitted himself better than the rest, when all the Cardinals and the best artists being of the same opinion. His Holiness commanded the Signor Agabrio to cause one of the large pictures to be given by Emulio to that master, for which cause he was entrusted with that end of the Hall in which is the door of the Pauline Chapel. Our artist commenced his work accordingly, but did not finish what he had begun, becausej the death of the Pope supervening, that Hall had to be cleared for the Conclave, as we have said, although many of the stories were still unfinished. With respect to that commenced by Taddeo, the design of it, executed by his own hand, and sent to us by himself, is now in our book of drawings.

About the same time, and among other small works, Taddeo painted a very beautiful figure of our Saviour Christ, in a picture which was to be sent to Caprarola, for the Cardinal Farnese, but which is now in the possession of Federigo, who declares that he means to retain it while he lives.^[16] This picture receives its light from weeping Angels, holding torches.^[17] But since we are to speak of the works executed by Taddeo at Caprarola when discoursing of Vignola, by whom the fabric was erected, we will not now say more on that subject.

Federigo had meanwhile been invited to Venice, where he agreed with the Patriarch Grimani to finish the chapel of San Francesco della Vigna, which had remained imperfect, as we have said, at the death of the Venetian Battista Franco. But before commencing his work at the chapel, he decorated the Staircase of the Patriarchs with small figures placed with infinite grace behind certain ornaments in stucco: this done, he painted two Stories in fresco, that of Lazarus and the Conversion of the Magdalen namely, in the above-mentioned chapel, the designs for which, by the hand of Federigo, we now have in our book.^[18] The Altarpiece for the chapel, which he painted in oil, is an Adoration of the Magi. At a somewhat later period, Federigo executed certain pictures in a Loggia at the Villa of Messer Giovan Battista Pellegrini, which is situate between Monselice and Chioggia, and where Andrea Schiavone has also left many works, as have the Flemings, Lambert and Walther. Those now executed there by Federigo were very highly extolled.

His brother having thus departed, Taddeo continued the frescoes in the Chapel of San Marcello, at which he worked all the summer, and where he finally painted the Altar-piece in oil. The subject chosen was the Conversion of St. Paul; and the Saint, a figure in a very fine manner, is seen fallen from his horse and bewildered at the splendour and voice of Christ, who appears surrounded by a Glory of Angels, and is in the act of uttering the words,—“Saul, Saul, why persecutest thou me?” Those around him are standing, in equal amazement, all looking terrified and confounded by the miracle pas.sing before them. In the ceiling our artist depicted three Stories in fresco from the Life of the same Saint, within certain compartments, formed of stucco-work.

One represents St. Paul when, being led prisoner to Rome, he disembarks on the Island of Melita, and the serpent seizes his hand as he is in the act of kindling a fire. In this picture numerous figures of mariners, almost entirely nude, stand around the ship. The second exhibits the miracle of the youth, who, having fallen from the window, and being brought to St. Paul dead, is, through the power of God, restored by him to life. The third presents the beheading and death of the Saint.

The walls beneath are in like manner adorned with two Stories in fresco, one shows St. Paul curing a lame man, the other is a Disputation, wherein the Saint causes a Magician to be struck with blindness, both truly beautiful pictures; but these being left unfinished by the death of Taddeo have been completed by Federigo, who has lately given them to view, and that to his no small credit. About the same time Taddeo painted certain pictures in oil, which were sent into France hy the Ambassador of the French King.

The death of Francesco Salviati having caused the smaller Hall of the Farnese palace to remain unfinished, wanting two Stories that is to say at the entrance, which is opposite to the great window, the Cardinal Sant’ Agnolo Farnese gave the commission for the work to Taddeo, who conducted it very successfully to its conclusion, although he did not surpass Francesco, nor indeed did he equal that master in the paintings of the apartment in question, as certain envious and malignant persons have gone about Rome affirming that he has done, with the hope of diminishing the glory of Salviati by their calumnies. Taddeo indeed, made efforts to excuse himself for not having done better in that work, by declaring that it had been painted principally by his disciples, and that the only part executed by his own hand was the design, with some few other portions; but these excuses were not accepted, for in so manifest a rivalry no man will entrust the credit of his art and reputation to weaker and less capable hands than his own, since that would be to incur a certain defeat.

It was now that the Cardinal Sant’ Agnolo, a man of a truly profound judgment in all things, and of the most admirable goodness,—it was now I say, that he perceived the extent of the loss incurred by the death of Salviati; for although the latter was proud, obstinate, and ill-tempered, he was truly excellent in all things appertaining to his art. Finding, nevertheless that the best artists were now almost wholly wanting in Rome, the Prelate determined at length, and as there were no others, to give the commission for painting that Hall to Taddeo, who accepted it gladly, proposing therein to give evidence, by every effort he could make, of the ability and knowledge which he possessed.

Now the Florentine Lorenzo Pucci, Cardinal Santi Quattro, had caused a chapel to be constructed in the Church of the Trinità, and here Perino del Vaga had painted the ceiling, with figures of Prophets and two Boys, who supported the Arms of that Cardinal, on the outside of the Chapel. But the work being still incomplete, three sides of the Chapel remaining to be painted, the Eathers sold the same to the Archbishop of Corfu at the death of the Cardinal, and without having any regard to what was just and reasonable in the matter; when the commission for the pictures still wanting was given by that Archbishop to Taddeo Zucchero. It may be true that, from respect to the Church and from other causes, it would have been well done to find means for completing the chapel, but the Fathers ought not to have consented that in the part already finished the Arms of the Cardinal should be removed for the purpose of substituting those of the Archbishop, seeing that these last might easily have been placed in some other position, without offering so manifest an injury to the respected memory of that excellent Cardinal Santi Quattro.

Finding that he had so many works on hand, Taddeo now daily urged the return of Federigo from Venice, where the latter, after having finished the Chapel of the Patriarch, was on the point of making an agreement to paint the principal faqade in the Hall of the Grand Council, wherein Antonio Veneziano had formerly laboured. But the rivalry and contentions, established on this occasion by the painters of Venice, prevented Federigo from receiving that commission; while at the same time those painters did not secure it for themselves, notwithstanding the favours which they had taken pains to seek, in the hope of obtaining it.

Meanwhile Taddeo, had a great wish to visit Florence, and see the numerous works which he understood to be there in progress for Duke Cosimo, more especially the commencement of the Great Hall, at which his friend Giorgio Vasari^[19] was then labouring. Wherefore he gave out that he was going to Caprarola, to look after the work he was engaged in there; but on the Festival of San Giovanni he arrived at Florence in company with the young sculptor and architect, Tiberio Calsagni, who was a native of that city. Here, to say nothing of Florence itself, which pleased him greatly, Taddeo Zucchero was infinitely delighted with the works of the many excellent sculptors and painters to be found there, ancient as well as modern; he was so much interested moreover by the numerous undertakings at that time in progress, that he would gladly have remained there several months. He then saw the arrangements and preparations of Vasari for the decoration of the above-mentioned Hall; forty-four large pictures namely, of four, six, seven, and ten braccia each, and in which Giorgio was executing figures, the greater part whereof were six and eight braccia high, all of them executed in less than a year; although he had no other aid than that of the Yleraing Giovanni Strada and Jacopi Zucchi, who were his disciples, with the exception of some which he obtained from Battista Naldini, and these works being thus seen by Taddeo gave him great pleasure, and inspired him with new courage. He then returned to Borne and set hand to the Chapel of the Trinità, with the determination to surpass himself in the Stories of Our Lady, which were to be painted there, as we shall’ presently relate.

Now Federigo, although much entreated to leave Venice and return to Rome, could not refuse himself the pleasure of passing the Carnival then approaching, in the first-mentioned city, and in company with the architect Andrea Palladio. The latter had just completed an uncovered Theatre in woo, after the manner of the Colosseum, for the Signori of the Company of the Calza, and wherein there was to be performed a tragic drama; Palladio therefore caused Federigo to prepare twelve large pictures, each of seven feet and a half square, for the scenic decoration of the same; these pictures exhibited numerous events from the Life of Hyrcanus. King of Jerusalem, as the subject of the drama demanded, and in this work Federigo acquired great credit for the rapidity with which he had executed his work, as well as for the excellence of the same. At a later period, and when Palladio had gone into Friuli, there to found the Palace of Civitale, of which he had already prepared the model, Federigo also journeyed thither, for the purpose of visiting that district; in which he copied or designed many of the works which had pleased him.

Finally, and after having seen many things in Verona, as well as in other cities of Lombardy, Federigo came to Florence, arriving exactly at the time when the richest and most beautiful works were in progress, as a preparation for the arrival of the Queen Joanna of Austria. It was then the pleasure of the Signor Duke that he should paint a singularly fanciful picture of a Hunt on a large piece of canvas, which covered the scene at the head of the Hall; this was in colours, but Eederigo also executed certain pictures in chiaro-scuro, all which gave infinite satisfaction. Having then proceeded from Florence to Sant’ Agnolo, for the purpose of revisiting his friends and relations, Federigo at length departed for Rome, where he arrived on the 16th of January. But he was not of any great use to Taddeo at that time, seeing that the death of Pope Pius IV. with that of the Cardinal Farnese, had interrupted the works in the Hall of Kings, as well as those of the Farnese Palace; wherefore Taddeo, who had finished another apartment at Caprarola, and almost completed the Chapel of San Marcello, was proceeding, but quite at his leisure, with the Assumption of Our Lady, and the Apostles who are standing around her bier.

In the meantime Taddeo had secured the commission for a Chapel in the Church of the Reformed Priests of Jesus, Avhich was at the Obelisk of San Mauro, to be painted in fresco by Federigo, and to this work the latter instantly addressed himself. The elder brother, meanwhile, feigning to be angry at Federigo’s long delay, appeared to be but little moved by his return, although he did in truth rejoice in it greatly, as was afterwards made clearly manifest. It was a vexatious annoyance to Taddeo, for example, to have the cares of a house on his shoulders, and this trouble Federigo had been accustomed to take wholly on himself; the return of the latter, therefore, relieving him as it did from inconveniences of that kind, left him free to give his attention with a quiet mind to his labours.

The friends of Taddeo were at that time earnestly advising him to marry, but he, accustomed to a life of freedom, and fearing, what .so m etimes happens, that together with the wife, he might bring a thousand cares and anxieties into his house, could never resolve on taking that counsel; nay, he now seemed to give himself up wholly to his works at the Trinità, and had not a thought but for the Cartoon which he was preparing for the principal façade, and the subject of which was the Ascent of Our Lady into Heaven.

Federigo was then painting a picture of San Piero in Prison, for the Signor Duke of Urbino^[20] with another, representing Our Lady in Heaven, surrounded by Angels, which was to be sent to Milan, and a third, wherein wa,s a figure intended to signify Opportunity, painted for Perugia. The Cardinal of Farrara had at that time many painters and masters in stucco-work, employed at an exceedingly beautiful Villa, which he has at Tigoli, and he ultimately despatched Federigo thither also, giving him a commission to paint two rooms, one of which is dedicated to Generosity, the other to Fame. Here our artist acquitted himself extremely well, and depicted a great variety of most fanciful and. beautiful inventions. That done, he returned to Rome, and resumed his work of the Chapel, which he has now brought to completion, having adorned it with a Choir of Angels hovering in splendour around a figure of the Almighty Father, by whom the Holy Spirit is sent down on the Virgin, who receives the Annunciation from the Angel Gabriel. On each side of the Madonna are three Prophets, larger than life, which are very fine figures.

Taddeo meanwhile continued to labour at the Assumption of Our Lady, which he was painting in fresco at the Trinità, and it might almost have seemed as if he had been impelled by nature to make his utmost efforts for that work, as for the last which he was to accomplish. And of a truth it proved to be the last; he fell ill of a malady which at first seemed to be but of slight importance, merely the result of the great heats experienced that year; yet eventually, it became very serious, and he died in the month of September, 1566. Taddeo had, however, first received the Sacraments of the Church, as a good Christian should; he had moreover taken leave of the greater part of his friends; but these things done, he departed, leaving behind him his brother, Federigo, who was at that time also suffering from illness. Thus in a short time have our arts, but more particularly that of painting, suffered severe losses, seeing that Michelagnolo, Salviati, Daniello, and Taddeo have all been taken from the world.

The works of Taddeo Zucchero give evidence of great boldness, he had a soft and harmonious manner, totally free from the crudeness but too often seen. His compositions were rich, the heads and hands beautiful, and the nude form betrayingn one of the hardness into which some artists fall, while seeking to display their knowledge of anatomy, and comprehension of art. To these persons there not unfrequently happens something similar to that which befell the stranger, who, by his laborious efforts to speak like the Athenians, was discovered, by a mere woman of the people, to be no Athenian.^[21] Taddeo Zucchero coloured also with much grace, and had a light and easy manner of handling; he was richly aided by Nature, but he would sometimes rely too implicitly on that circumstance. He was so anxious to possess something of his own, that for a long time he would accept whatever offered, for the sake of gain; but among the works thus multiplied, there were many—nay, rather an infinite number, well meriting the highest praise: this painter had always numerous disciples and other artists, working at his undertakings, as indeed was indispensable, for without such aid he could not have fulfilled his engagements. He was of a sanguine temperament, hasty, given to anger, and of a somewhat free life; but his aberrations were of no immoderate character, nor did he permit them to offend the public eye: affectionate towards his friends, he was ever ready to aid them, and spared no pains to do so, whenever the opportunity presented itself.

The work of Taddeo Zucchero, at the Trinità, had not been given to view at the time of his death, and the G-reat Hall of the Farnese Palace also remained unfinished, as did likewise the works of Caprarola; but all these undertakings were left in the hands of Federigo his brother, whom the masters or owners of those places have permitted to complete them, as he may he expected eventually to do; and of a truth Federigo will be no less the heir of the talents than of the property of Taddeo. The latter received sepulture from his brother, in the Ritonda^[22] of Rome, near the Tabernacle, wherein is buried his fellow countryman, Raffaello da Urbino; and certainly they are placed well, one beside the other, seeing that as Raphael died at the age of thirty-seven, and on the same day on which he was born, so also did Taddeo depart this life in his thirty-seventh year, having been born on the first of September, in the year 1529, and dying on the second of the same month, in the year 1566. It is the purpose of Federigo to repair the other Tabernacle, if he be permitted to do so, and there to erect some memorial to his most aiFectionate brother, to whom he acknowledges himself to be under infinite obligations.

And now, since I have before made mention of Jacopo Barozzi, of Vignola, and have said that the most Illustrious Cardinal Farnese has had his magnificent, nay, regal Villa of Caprarola built after the designs of that architect, I will not omit to add that this Bolognese painter and architect, who is now in his fifty-eighth year, was placed to study the art of painting in Bologna, during his childhood, and in his youth; but he did not greatly profit, partly because he had not received a right direction at first setting otf; but also in part because he was more decidedly disposed to architecture than to painting, as may be seen from the few works which he has executed in painting, as compared with his architectural designs; his inclination to the study of perspective and architecture, was indeed very strong, insomuch that he not only acquired the first principles almost without assistance, but mastered the most subtle difficulties also, in a very sl^ort time; many beautiful designs are thus to be found, executed by Jacopo, before he had become known, and principally for Messer Francesco Guicciardini, who was then Governor of Bologna, or for others of his friends: these designs were afterwards executed in tarsia, by the Dominican Fra Damiano da Bergamo.

Having subsequently proceeded to Rome, intending to study painting, in the hope that he might thence obtain the means of assisting his poor family, Vignola first worked at the Belvedere, with the Ferrarese Jacopo Melighini, architect to Paul III., for whom he made designs. But there was then in Rome a Society of Nobles and Gentlemen, who met for the purpose of reading Vitruvius, and by these—among whom was Marcello Cervini (afterwards Pope), Monsignor Maffei, Alessandro Manzuoli, and others,—Vignola was subsequently employed to take measurements of all the Roman antiquities, and to execute other works under their direction, from all which he gained profit as well as practice in art. The Bolognese painter, Francesco Primaticcio, had meanwhile arrived in Rome, and by him also Barozzi was much employed in modelling a great part of the Roman Antiquities, the moulds of which were sent into France, where statues in bronze, resembling those of the antique, were afterwards cast from the same. These preparations completed, Primaticcio returned to Prance, taking Vignola with him, and employing him in architectural works, as well as in the casting of the bronze statues above-mentioned, all of which Barozzi did with much diligence and good judgment.

Two years later our artist returned to Bologna (as he had promised the Count Filippo Pepoli that he would do), there to work at the fabric of San Petronio. But here he consumed several years in disputes with his competitors, without having done anything, with the exception of the Canal which was constructed after his designs, and by means of ,which the vessels, which previously could not come within three miles of Bologna, were enabled to enter the city. Nor has a more useful or more praiseworthy undertaking than is this Canal ever been executed, although Vignola, who was the inventor of that work, was but poorly renumerated for his pains.

In the year 1550 Julius III. was elected Pope, when Barozzi, by the intervention of Vasari, was appointed arc*hitect to His Holiness, from whom he received charge of the Acqua-Vergine, and of all the works at the Vigna of the Pope, His Holiness receiving Vignola into his service all the more readily, as he had known him when he, Julius, was Legate at Bologna.

In these works for the Pontiff, Barozzi underwent great fatigues, but was as before very poorly remunerated. At length his abilities were made known to the Cardinal Parnese, by whom he was ever afterwards greatly favoured, and who would have everj'-thing in his Palace of Caprarola, arranged after his designs and invention.

Nor was the judgment of the Prelate in selecting so good an architect, less remarkable than his greatness of mind in constructing so noble and magnificent an edifice, which is not indeed in a position to be much enjoyed by the public, being in a remote and solitary district, but is nevertheless admirably placed for one who desires to escape for a time from the toils and vexations of cities.^[23]

This edifice has the form of a pentagon; it is divided into four parts, exclusive of the principal front wherein is the great door; behind which is a Loggia eighty palms long by forty broad, and at one end of the same is a spiral staircase the steps of which are ten palms in width, while the space in the centre, which gives light to the whole, is of twenty palms. This spiral stair ascends from the ground to the third or uppermost floor, it is supported on double columns, and adorned with rich and varied cornices: at the lower end we have the Doric Order which is followed successively by the Ionic, Corinthian, and Composite, all richly decorated with balustrades, niches, and other fanciful ornaments which render it very graceful and beautiful.

Opposite to this Staircase and on the other side of the entrance, is a range of rooms commencing with a circular vestibule of size equal to that of the Staircase, and leading to a Hall on the ground floor, eighty palms long and forty broad. This is called the Hall of Jupiter, and is adorned with stucco-work and painted with Stories of Jupiter, his birth that is to say, and his infancy, when nursed by the Goat Amalthea; the coronation of the latter is added, with two other stories, one on each side of these, showing Amalthea received among the number of the Celestial Signs in one, and in the other a story of the same Goat, both of which allude, as do the others, to the name of that Palace, Caprarola. The walls of this apartment are furthermore decorated with perspective views of buildings drawn by Vignola and painted by his son-in-law; they are very beautiful, and cause the Hall to appear much larger than it is. This room is succeeded by one of forty palms only, which is likewise adorned with stucco-work and paintings, all referring to the Spring. From this room and turning the angle towards the apex of the Pentagon, where a Tower has been commenced, we proceed to three large rooms each forty palms long and thirty wide. In the first of these are stucco-work and paintings to intimate the Summer; in the second is depicted the x.utumn; and the third, which is sheltered from the north, is adorned in like manner with paintings and stucco-work symbolical of the Winter.

We have hitherto spoken of that half of this pentagonal edifice which is on the right, and immediately over the basement of the building wherein are the kitchens, cellars, larders, offices for the servants, and so forth; we have now to remark that on the opposite or left hand are the same number of rooms of a similar size. Within the five angles of the Pentagon, Vignola has constructed a circular court into which there come the external doors of all the apartments in the building, and these doors all open into a circular Loggia or Gallery eighteen palms broad. This Loggia passes around the Court, the diameter whereof is ninety-five palms five inches. The pilasters of the Loggia, between which are niches, and which support the arches and vaulting, occupy fifteen palms for each couple with its central niche; and the space between the arches is also of fifteen palms. From this Loggia the ascent is by four spiral staircases, reaching from the foundation of the building to its summit, to the great convenience of the Palace. There are also reservoirs for collecting the rain water, and in the centre is a very large and handsome cistern, to say nothing of the windows, and other conveniences which make this building appear, as it is, a most beautiful and commodious edifice. The villa, which is approached by steps of an oval shape, holds the position, and has the form of a Fortress; it is surrounded by a ditch and draw-bridges of original invention and new form, these lead into gardens enriched with many beautiful fountains, mingled with shrubberies and parterres of most pleasing effect, and adorned, at a word, with all that could be demanded by a truly regal Palace.

We now ascend the great winding staircase from the court to the apartments above it, and here we find rooms of equal number with those below; there is also a chapel which stands opposite to the principal staircase. In the Hall, which is over that of Jupiter and of the same size, are rich ornaments in stucco by the hand of Taddeo and his disciples, with paintings by the same, all relating to the illustrious men of the House of Farnese. The ceiling is divided into six compartments, which enclose paintings, four of a square and two of a round form, these are in immediate contact with the cornice which surrounds the Hall, and in the centre of them are three oval pictures with a parallelogram divided into two small squares, in one of which is depicted the figure of Fame, in the other that of Bellona. In the first of the three ovals, meanwhile, there is the figure of Peace; that in the centre exhibits the ancient Arms of the House of Farnese, with the Casque, which is surmounted by a Unicorn; in the third oval is a figure representing Religion.

Of the six stories ahovementioned, the first represents Guido Pamese surrounded by numerous figures, all well executed; beneath it is the following inscription:—

Guido Farnesius urbis veteris principatum civibus ipsis deferentibus adeptus, laboranti intestinis discordiis civitati, seditiosa factione ejecta, pacem et tranqillitatem restituit anno 1323.

In a long square is the figure of Pietro Niccolò Parnese, the liberator of Bologna, the inscription beneath which is as follows:—

Petrus Nicolaus sedis Romance potentissimis hostibus memorabili prcelio superatis, imminenti obsidionis periculo Bononiam liberal, anno salutis 1361.

The square next to this shows Piero Parnese, when made Captain General of the Plorentines, the inscription being as follows;—

Petrus Farnesius reip. Florentince imperator magnis Pisanorum copiis capto duce obsidionis occisis urbem Florentiam triumphans ingreditur, anno 1362.

In the circular picture opposite to that before-described is another Pietro Parnese, who defeats the enemies of the Roman Church at Orbatello; this also has its appropriateinscription. In one of the two other squares, which are of equal size, is the Signor Ranieri Parnese elected Captaingeneral of the Florentines in the place of the Signor Pietro his brother, with this inscription:—

Rainerius Farnesius a Florentinis difficili reip. tempore in Petri fratris mortui locum copiarum omnium dux deligitur, anno 1362.

And in the remaining square is Ranuccio Parnesi appointed General of the Church by Pope Eugenius IV., with the inscription which follows:—

Ranutius Farnesius Pauli III. papce avus Eugenio 4 P. M. rosce aurece munere insignitus pontificii exercitus imperator constituitur, anno Christi 1435.

In addition to these Stories, the whole ceiling is filled with most beautiful figures, to say nothing of the stucco-work, gilding, and other ornaments. The walls beneath have eight pictures, two on each. In the first, which is at the right of the entrance, is Pope Julius III. confirming the Duke Ottavio, and the Prince, his son, in the possession of Parma and Placentia, which he does in the presence of the Cardinal Parnese; in that of Sant’ Agnolo, his brother; the Chamberlain, Santa Fiore; the elder Salviati, Chieti, Carpi, Polo, and Morone, all of whom are portrayed from nature, are likewise present. Beneath them is the following inscription:—^[24]

Julius III. P. M. Alexandra Farnesio auctore Octavio Farnesio eius fratri Parmam amissam restituit, anno salutis 1550.

In the second Picture is Cardinal Farnese, makino: his Entry into the City of Worms, as Legate to the Emperor Charles V., who is coming forth, together with the Prince, his son, to meet the Prelate. His Majesty is attended by a large number of his Barons, and with them is the King of the Eomans. On the wall to the left of the entrance, the first story exhibits the war undertaken in Germany against the Lutherans, in the year 1546, when the Duke Ottavio Fames was Legate; this also has its inscription. The second, on this side, has the Cardinal Farnese, with the Emperor and his Sons; they are all four under a Canopy, which is borne by figures, each one a portrait from the life, and among them is that of Taddeo, the artist of the work. There are besides many Barons and other Nobles in this picture. On one of the two fa9ades at the end of the Hall are two Pictures, between which is an oval compartment containing the portrait of King Philip, with the following inscription:—

Philippo Hispaniarum regi maximo oh eximia in domum Farnesiam merita.

Of the two Stories above-mentioned, one presents the Duke Ottavio espousing Madama Margherita, and has Pope Paul III. in the centre: in this picture there are the portraits of Cardinal Farnese the younger; Cardinal di Carpi; the Duke Pier Luigi; Messer Durante; Eurialo da Cingoli; Giovanni Riccio, of Montepulciano; the Bishop of Como; the Signora Livia Colonna; Claudia Mancina; Settimia; and Donna Maria de Mendoza. The second picture exhibits the Duke Orazio taking to Wife the Daughter of King Henry of France, with the inscription which follows:—

Henricus II. Valesius Gallics rex Horatio Farnesio Castri duci Dianam filiam in matrimonium collocat, anno salutis 1552.

In this Story, beside the portrait of Diana the Bride, who wears the regal mantle, and of her husband, Ottavio, there are those of the Queen, Catherine de’ Medici; of Margaret, the King’s Sister; of the King of Navarre; the Constable; the Dukes of Guise and Nemours; the Prince of Conde, Admiral of France; and the younger Cardinal of Lorraine; with those of another Guise who had not then been made a Cardinal; of the Signor Piero Strozzi; of Madame de Montpensier; and of Mademoiselle de Rohan.

The end of the Hall opposite to this, has in like manner two Stories, with an oval compartment between them; and in this Oval is the portrait of Henry King of France, with the following inscription:—

Henrico Francorum regi max. familiae Farnesiae conservatori.

In one of the Stories, that to the right, namely. Pope Paul III. invests the Duke Orazio, who is kneeling before him, with a sacerdotal Robe, and makes him Prefect of Rome; the Duke Pier Luigi, and other Nobles, stand around. The inscription is as follows:—

Paulus III. P. M. Horatium Farnesium ncpotem summce spei adolescentem praefectum urbis creat. anno sal. 1549.

Here also are numerous Portraits, the Cardinal of Paris,^[25] for example, with Visco, Morone, Badia, Trento,^[26] Sfondrato, and Ardinghelli. Beside this Story is that which represents the same Pope Paul conferring the Baton of General on Pier Luigi and his Sons, who were not yet Cardinals. We have here the following portraits: the Pope; Pier Luigi Farnese; the Chamberlain; the Duke Ottavio; Orazio, Cardinal of Capua; Simonetta; Jacobaccio; San Jacopo; Ferrara; the Signor Ranuccio Farnese, who was then a youth; Giovio; Molza, and Marcello Cervini, who was afterwards Pope; the Marquis of Marignano; the Signor Giovan Battista Castaldo; Alessandro Vitelli, and the Signor Giovan Battista Savelli, are likewise portrayed from the life in this work.

We now come to the smaller Hall, that namely which is above the Hall of Spring, and the ceiling of which is richly adorned with stucco-work and gilding; in the centre is the Coronation of Paul III., with four compartments forming a Cross, and bearing the following inscription:—

Paulus III. Farnesius ponyitifex maximus Deo et hominibus approbantibus sacra tiara solemni ritu coronatur, anno salutis 1534, iij. Non. Novemb.

Four Stories complete the decoration; in the first, the Pope confers his benediction on the Galleys which departed in the year 1535, from Civitavecchia to attack Tunis. In the second, the same Pope excommunicates the King of England; this happened in 1537, and the picture is accompanied by an appropriate epitaph. In the third are the Calleys which the Emperor and the Venetians, with the sanction and assistance of the Pope, despatched against the Turks in the year 1538. The fourth exhibits the people of Perugia, entreating pardon from the Church, after having rebelled against it, in the year 1540. The walls of this room exhibit four large Stories, one on each wall; between them are the windows and doors. The first of these pictures represents the great Emperor Charles Y., who, returning victorious from Tunis, kisses the feet of Pope Paul—of the Farnese family; this happened at Pome in the year 1535. In the second is the same Pope at Busetto, where he makes peace between Charles V. and Francis I. King of France, an event which took place in 1538. The portraits in this work are^[27]—the elder Bourbon; the Kings Francis and Henry; the elder Lorenzo; Cardinal Tournon; the younger Bourbon; and two sons of King Francis. In the third. Pope Paul makes the Cardinal di Monte, Legate to the Council of Trent, and in this also there are numerous portraits. The last picture, which is between the two windows, has the same Pontiff, who, in preparation for the Council, elects a certain number of Cardinals, among whom are four, who afterwards successively occupied the Papal throne, Julius III. namely, Marcellus, Paul IV., and Pius IV. To say all at a word, this room is adorned with every embellishment best calculated to enrich such an apartment.

The first chamber beside the Hall above-described, and which is a dressing room, is also richly decorated with stucco-work and gilding; in the centre is a Sacrifice with three nude figures, and one of Alexander the Great, who casts vestments of furs upon the fire. There are many other Stories in the same place, some of them exhibiting the discovery of textures for clothing from vegetable substances, but to describe them fully would lead us too far. From this room we enter a bed-room, for which Taddeo, when about to paint it, received the following directions from the Commendator Annibale Caro, who furnished them by commision from the Cardinal.

“The subjects,” observes Annibale, ‘‘ which the Cardinal has commanded me to give for the paintings of his Palace of Caprarola, cannot be rendered sufficiently intelligible in words, wherefore I propose to describe them as briefly as I can on paper; and first, for the room with a level ceiling (the only one of which I have yet received the charge), it appears to me that, since it is the bed-chamber of his most illustrious Lordship, there should here be executed subjects appropriate to the place, and also out of the common way, whether as regards the invention or workmanship. And first, to express my idea generally, I would have Night there, seeing that this subject, being both appropriate and uncommon, would be different from those in the other rooms; it would also afford you an opportunity for executing many beautiful and extraordinary specimens of your art, and the rather, as strong lights and deep shadows are wont to give much relief and effect to the figures. The time of this Night I would have approaching the Dawn, since the visibility of the objects represented would thus be probable; but before descending to the particulars of these objects, we must first consider the situation and divisions of the chamber.

“Let us suppose it then to be divided (as it is) into a ceiling and walls; the first has a concave oval in the centre, with four large corbels in the angles; between the corbels are four lunettes, and if we now give its name to each of the parts, according to the division which we shall make of the whole chamber, we can then more readily distinguish every part. Let us then divide these parts into five; the first shall be ‘the head,’ and this we will suppose to be towards the Garden; the second, or opposite to this, we will call ‘the footj’ the third, ‘the right,’ and the fourth, ‘the left;’ the fifth part, which we will suppose to be amidst all these, shall be called ‘the centre.’ We shall thus be able to distinguish every part by its name. We will also determine the place on the floor which should be occupied by the bed, and this, as I think, should be along the wall at ‘the foot,’ with its head towards ‘the left.’ Having thus named all the parts, we will first give directions for the work generally, and then for each point in particular. The oval concave of the ceiling shall represent Heaven (as the Cardinal has judiciously decided); the remainder of the vaulting shall appear as if not separated from the rest of the chamber, but shall be adorned with fine architectural ornaments, which you will devise. The four lunettes I would have also appear to be concave; and since the oval represents Heaven, these shall represent Air, Earth, and Sea, as though these were seen beyond the chamber by those within it. But since the ceiling is not a lofty one, and the lunettes are too small to contain any but minute figures, I would have each divided longitudinally into three parts, suffering the outermost part to continue in the line of the corbels, and deepening the centre beneath that line, in such sort that this should appear to be a high window, through which figures and stories of correctly proportioned size should appear as if seen, as I have said above, on the outside of the room by those within it. The two extremities of the lunettes (which we will henceforth call their Horns), shall remain level, and on each of them shall be a figure seated or recumbent, and seeming to be either inside or outside of the room, as you shall find advisable.

“And now, to speak again of the chamber as a whole, I would say that I think it ought to be somewhat obscure in itself and receive no light but from the concave oval and the lunettes: the light that is to say being partly from the celestial bodies, and partly from the fires of the earth, which shall be made as I will describe hereafter. I would also have you to observe, that from the half of the room downwards I wish the obscurity to increase in proportion as you approach ‘the foot,’ where the Night shall be: as also of the upper half, in proportion as you approach ‘the head,’ or where the Aurora shall be, so is all gradually to become clearer and clearer.

“Having thus disposed of the whole, let us now consider the parts, giving to each its due place. In the oval of the ceiling there shall be made the Aurora at ‘the head’—as I have said; and I find that this may be done in many ways; but I select that which appears to me the most gracefdl for painting. Let there be figured then, a maiden of such beauty as the poets labour to express by their words, composing her of roses, of gold, of purple, of dew, and of such like charms of colour and complexion. As to her vestments, we have to consider, if out of many we would select the most suitable, that, as this maiden has three seasons and three distinct colours, so also has she three different names; Alba (white),yermiglia (red), and Rancia (orange). This justly •weighed, I would make her a vest to the girdle that should be of a clear white and very slight texture, nay, as it were transparent: from the girdle to the knee, she should have a tunic of scarlet, with knobs and escaloped edges to imitate the reflections which are seen in the clouds, when the dawn is of an empurpled colour. From the knee to the foot, her vestment should be of a golden tint, to represent the daybreak, when it has become orange. But I warn you that these vestments must be open from above the knee downwards, that they may show the nude limbs; and the vest as well as tunic, must be moved by the wind, forming folds and waving about. The arms must be naked and rosy; fair coloured wings must rise from the shoulders; on the head must be a crown of roses, and in the hands a lamp or lighted torch, or perhaps it were better to let a Cupid bearing a torch go before her, while another coming after her shall awaken Tithon with his torch. She must be seated on a golden seat in a chariot, also gilded, and drawn by a winged Pegasus or by two horses, for she is depicted in both ways. The colours of the horses must be, one a shining white, the other a radiant red, to denote the names given to them by Homer of Lampos and Phaeton. She shall be represented as rising from a tranquil Sea, which shall appear to be rippled, luminous, and glancing. In the right horn of the lunette, on the wall behind her, shall be Tithon her husband, and in the left horn of the same shall be Cephalus her lover. The first a gray-beard reclining on a golden bed, or better still, lying in a cradle, as one who from extreme age has returned to childhood, and letxhis attitude be that of one who would gladly retain Aurora, and who looks after her as if her departure grieved him. But let Cephalus be a most beautiful youth, wearing a short doublet, and with half-boots on his feet; he shall have a javelin with a gilded point in his hand, and with his dog beside him shall be about to enter a grove, as not caring for Aurora, because of the love which he bears to his Procris.

Between Cephalus and Tithon, in the window of tne lunette behind Aurora, there shall be seen to appear some few rays of the Sun exhibiting a splendour more radiant than that of Aurora, but these shall be partly hidden by a large Woman, who shall appear before them: this woman is to signify Vigilance, and must be presented in such sort that she shall appear to be illumined from behind by the rising Sun; and as it is her purpose to anticipate him, she shall seem to be hurrying through,the window and into the chamber. Her form shall be that of a tall, active, and powerful woman; her eyes shall be well opened, and her brows arched; she shall be clothed to her feet in a transparent vest, bound round her at the waist; with one hand she is to rest on a spear, and with the other she may gather up the folds of her vest: let her stand firmly on the right foot, and holding the left suspended, let her thus appear to move with a prompt yet firm step. She shall raise her head as if to look at Aurora, and shall appear to be indignant that the latter has risen before her. On her head she shall bear a helmet surmounted by a Cock, which shall be crowing and clapping his wings. All this shall appear to be behind Aurora. But before her, in the sky of the concave oval that is to say, you shall make little figures of Maidens one behind another, and some of them being more in shadow, while others are less so, according as they shall be nearer to or farther from Aurora: these are to signify the Hours which precede her and the Sun. These Hours shall have the vestments and garlands of Virgins; they shall be winged, and have their hands filled with flowers, as if they were scattering the same.

“On the opposite side shall be Night, and as Aurora rises, so must Night descend; as the one shows her face must the other turn her back; let the first rise from a tranquil sea, while the other must sink into a cloudy and troubled deep. The horses of Aurora must advance; those of Night must be departing. At a word, the whole presentment of the latter must differ from that of Aurora. Her complexion dark, her mantle and horses black, as also shall her wings be, and these last must be open, as if she were flying. Her hands shall be borne aloft, and in the one she shall hold an infant sleeping, which shall be white to signify Sleep; while in the other she shall have a black child, also asleep, to signify Death, because Night is said to be the mother of both. She shall appear to be sinking with the head foremost into shadows that must be constantly deepening; and the heavens around her shall be thickly strewn with stars. Her chariot shall be of bronze, with the wheels divided into four spaces, to intimate the four watches of the night. And as, in the wall behind her,’ Aurora has Tiphon and Cephalus, so shall Night have Oceanus and Atlas. The first shall be on the right, and shall be represented by a large and powerful man, with hair and beard dishevelled and streaming; while from both there shall proceed the heads of dolphins, which shall also compose his head-dress, with the addition of sea-weed, shells, corals, and other marine products; he shall repose on a chariot drawn by whales. Tritons shall precede him with their trumpets. Sea-nymphs shall surround his car; and monsters of the deep shall follow him. Or, if not all these things, then as many of them as may be permitted by your space, which appears to me but little for such a purpose.

“The Atlas, which shall be on the left of Night, you shall represent as a Mountain, with the breast, arms, and all the upper part of the body, that of a strong, muscular, bearded man, in the act of supporting the Heavens, which is his usual attitude. Lower down, and opposite to the Vigilance which we have placed beneath Aurora, should be Sleep; but as, for certain reasons, it appears to me that Sleep should be reserved for the bed, we will here place Repose, and the rather as I find that Repose has been adored, and has had a temple dedicated to her, but I do not find the form in which she is presented, unless indeed it be that of Security. Yet I think it is not so, seeing that Security is of the mind, and Repose of the body. Let us then make our Repose in the figure of a maiden, mild of aspect, and not recumbent, but seated, as one weary and dozing, with her head supported by the left arm. Let her have a spear leaning against her shoulder, but with its lower end on the earth, and let her right arm hang freely along the staff; one leg must be crossed over the other, but let her attitude be that of one who is reposing for the restoration of her strength, not from idleness. She shall have a crown of poppies, and a sceptre, which shall be at some distance from her, but yet only so as that she may resume it readily; and as Vigilance bears a crowing Cock on her head, so shall our Repose have a brooding Hen, to show that she is in her duty even while at rest.

“Within the central oval and to the right hand, there shall be a figure of the Moon, represented as a maiden of eighteen, tall, and of a virginal aspect, not unlike that of the Apollo. Her hair shall be long, thick, and slightly waving; or she shall have the Phrygian cap on her head, with two wings on it, which shall be placed towards the front, and fall over the ears. There shall also be two small horns on the front, like those of the crescent moon; or, according to Apuleius, she should have a small polished mirror on her brow, with serpents at certain distances, and a few ears of corn on the upper edge. Her coronal shall be of dittany, according to the Greeks; or, according to Martianus, of varied flowers; nay, as some will have it, of helichrymum. There are some who would have her clothed in a vesture that should reach even to her feet, others will have it shortened to the knee, and there are who will have a cincture at the waist, and the vestment crossed beneath the girdle, after the manner of the Nymphs. Her mantle shall be clasped on the shoulder, and she shall have buskins neatly decorated. Pausanias, alluding, as I think, to Diana, clothes her with the skin of the deer; but Apuleius, taking her perchance for Isis, gives her a slight veil of many colours, white, yellow, and red, with a second vesture, wholly black, yet clear and shining; he sprinkles it, moreover, with stars, placing the moon in the centre of them, and adorning the edge with fruits and flowers, pendent in the manner of a knotted fripge. You may take either of these habits at your pleasure. Let her arms be naked, or with large sleeves; place a lighted torch in her right hand, and in her left a drawn bow, which last Claudian declares to be of horn, while Ovid maintains it to be of gold: make it which you please, but fail not to fix the quiver on her shoulders. Pausanias also places two serpents in her left hand, but in Apuleius she holds a golden vase, the handles whereof are serpents, which appear to be swollen with venom: the foot of the vase is adorned with palm leaves. But here also, I think, Apuleius must be alluding to Isis, wherefore I would have you give her the bow, as I have said. Let her be mounted on a chariot drawn by horses, of which one shall be black, the other white; or, if you desire variety, by a mule, according to Festus Pompey; or by oxen, according to Claudian and Apuleius; but if you have these last, let their horns be very small, and let them have a white spot on the right side. The attitude of the Moon must be that of one looking from the heaven of the oval towards the horn of the lunette on the garden side, where her lover Endymion must he placed; nay, she shall bend forwards from her chariot as if to embrace him; and not being able to effect this, because of the enclosure, she shall be regarding him tenderly, and enlightening him with her beams.

‘‘For Endymion you must make a beautiful youth, in the garb of a shepherd, and he must be lying asleep at the foot of Mount Latmos. In the second horn of the lunette shall be the god Pan, who is in love with Luna, and whose form is familiar to you. His pipe must be round his neck, and let him extend his hands, wherein there shall be a skein of white wool, toward the Luna; for with this it is feigned that he obtained her love, and by this present he hopes to induce her to descend and dwell with him. The remaining space of the window shall be filled with a Story of the Sacrifices offered at night by the Lemures, who believed that evil spirits were thus driven from their houses. And the rite was performed on this wise; with raised hands and bare feet, they walked round and round, scattering black beans, which they first turned about in their mouths and then cast behind them, striking meanwhile on basins and other instruments of copper, whereby they made a loud noise.

“On the left side of the oval shall be Mercury, in his usual form, with the winged cap and wings at his feet, the caducous in his right hand, and a purse in his left. He shall be entirely nude, with the exception of the short mantle on his shoulders; his form that of a beautiful youth, but of a simple comeliness, and wholly wdthout art; his countenance cheerful, the eyes very spirited; a slender person, beardless chin, and rosy complexion. Some give him wings at the ears, and make feathers of gold proceed from his hair. Be the attitude at your pleasure, provided you show that he is descending from heaven to bring sleep; and turning towards the bed, let him seem to touch the canopy thereof with his rod.

“Opposite to Mercury place the Lares his sons, the protectors of private dwellings: two youths, namely, clothed with the skins of dogs, but with short vestments thrown over the left shoulder, yet returning under the right arm, to show that they are unencumbered and ready to guard the houses confided to them. Let them be seated beside each other, with spears in their hands, and a dog between them. Above them, let there be a small head of Vulcan wearing a cap, and having the pincers of a smith beside it. In the other horn shall be a Battus turned into stone, for having betrayed the theft of cows committed by Mercury. This must be the figure of an old Shepherd pointing with a finger of the right hand towards the place where the cows were hidden, and leaning with his left arm on a slight wand or rod; from the middle downwards let him be of the black or touch-stone, into which he was converted: let the remainder of the space be occupied by those sacrifices offered to Mercury by the ancients, to the end that they might obtain uninterrupted sleep. To figure these, you must have an Altar, with the Statue of the God thereon; at his feet must be a fire, into which those around are throwing wood for burning; they hold cups of wune in their hands, and of this wine they pour out a part, but the other part they drink.

“In the centre of the Oval (that all the Heaven may be filled), let the Twilight appear, as the medium between the Aurora and the Night; and to signify this, I find that you must make a youth entirely naked (he is sometimes winged and sometimes not); he must have two lighted torches in his hand, one of which he extends towards the Aurora, and the other towards the Night. Some make this youth with the two torches to be riding on a Horse, either of the Sun or of Aurora; but that would not suit our purpose; wherefore we will have him as I say, and turning towards the Night: but beneath his feet shall be a large star, which may be considered that of Venus, seeing that Venus and Phosphor, Hesperus and Twilight, appear to be one and the same; take care, however, that from this figure to the Aurora all the minor stars shall have disappeared.

“We have hitherto spoken of such things as must appear to be outside of the Chamber, we now come to that which is to appear as within it; and first, of the portion above the bed, where we will have Sleep depicted; but to do this, we must first describe the dwelling thereof. This, Ovid places in Lemnos or among the Cimbri; Homer, in the Ægean Sea; Statius, in the country of the Ethiopians; and Ariosto, in Arabia. But wherever the place may be, it shall suffice you to represent a Mountain, of which we are to suppose that a perpetual darkness reigns there and the sun never shines. At the foot of this is to be a deep cavity, through which must pass water, as it were dead and without movement, to show that it does not murmur; or you can make it of a dark colour, because we mean it to signify an arm of the River Lethe. Within this cavity let there be a bed, which, as it is feigned to be of ebony, shall be black, and covered with black draperies. In this bed there shall be laid Sleep or Somnus, a youth of the most perfect beauty; and let this figure be most placid as well as most beautiful. Some will have him nude, others give him two vestments, a black above and a white below. Under his arm he has a horn, from which a dark liquid appears to be poured over the bed, and this denotes Oblivion, although there are who would make it full of fruits. In one hand let him have a wand, in the other three heads of poppies. Let him sleep like one who is sick, with the head and hands falling listlessly, wholly abandoned to a deep slumber. Around his bed let there be Morpheus, Icelus, and Phantasy, with a large number of dreams, for all these are his sons; and these dreams may be minute figures, some of fair aspect, and others hideous, as being things that are in part pleasing and in part afflictive. Let them have wings and turn their feet backward to mark their instability, and to show how inconstant they are. Let these phantoms hover around the bed, making a species of representation or drama, by transforming themselves into things possible and impossible. Morpheus is called by Ovid the artist and inventor of figures, and therefore I would make him in the act of forming masks with all kinds of strange faces, some of which he sets on feet. Icelus is said to transmute himself into various shapes; and him I would represent in such sort that while in the whole he should seem a man, yet should he also exhibit the parts of a wild beast, a bird, and a serpent, as Ovid describes him. Phantasy is also declared to transform himself into all sorts of insensate objects; he too may therefore be depicted as described by Ovid, partly of stone namely, partly of water, and partly of wood. There shall, furthermore, appear to be two doors in this concavity; one of ivory, whence proceed the false dreams; and one of horn, from which issue true ones: the true shall be more distinct, more lucid, and of more correct forms; the false shall be confused, dark, and imperfect or indistinct of outline.

“On the corbel, between the wall at ‘ the foot ’ and that at ‘the right,’ shall be painted Brizzo,^[28] the Goddess of auguries and interpreter of dreams. I do not find her dress depicted, but she may have the form of a Sybil, seated at the foot of the Elm described by Virgil, as concealing innumerable images amidst its leaves, suffering the same to fall from its branches and hover around the Goddess; and these shall be of more or less distinctness, as above said, some darker, some lighter, some broken, and others almost wholly imperceptible, thereby to represent the visions, dreams, oracles, phantoms, and other nonentities, seen while sleeping. These five modes of such appearances are indicated by Macrobius, and Brizzo is to appear absorbed in the care of interpreting them: she must be surrounded by men who offer her baskets filled with every kind of gifts, fish only excepted. On the corbel between the wall of ‘the head’ and that of ‘the right,’ may be conveniently placed Harpocrates the God of Silence, seeing that he, being the first object perceived by those who enter the room, will thus warn them to make no noise. The figure of Harpocrates is a youth or boy of a somewhat dusky colour, as being a God of the Egyptians; he must press one finger on his lip to command silence, and may have a branch of the peach-tree in his hand, adding, if you please, a garland of its leaves; they feign that he was born with weak legs, and that having been killed, his mother Isis restored him to life. Some, therefore, paint him extended on the earth; others, lying in the lap of his mother, with his limbs bound up: but I would have him standing up and supported in some fashion, or seated perhaps, as is that one which belongs to the Cardinal Sant’ Angelo, and which has wings, with a Cornucopia. He must have figures around him, presenting him, as was the custom, with first fruits of lentils and other vegetables, but more particularly of peaches. Some make this God as a figure without a face, wearing a small cap on the head, and clothed in the skin of a wolf, all covered with eyes and ears. Take whichever of these two you like best.

“On the last corbel, between the wall of ‘the head’ and that of ‘the left,’ will be appropriately represented Angerona, the Goddess of Secresy, seeing that she will be thus conveniently placed for admonishing all who leave the Chamber to keep whatever they may have heard and seen there secret, as it behoves them to do who serve the great. Her figure is that of a woman placed on an Altar, with the mouth tied and sealed. I know not what vestments are given her, but I would wrap her in one long robe, covering her from head to foot, and fastened on the shoulders. Let there be priests around her, since these were accustomed to offer sacrifice to her in the Curia, to the end that she might prevent all men from betraying, to the injury of the Republic, whatever had passed there.

“There now remains only to add, that I would have the whole work surrounded by a frieze of grottesche or Stories of minute figures; the subjects being in harmony with those above described. In the Stories 1 would have such things exhibited as are done by men, and even by animals, at the hour pre-supposed; thus, as appropriate to the Dawn, I would have artists, mechanics, and workmen of every kind, who, having risen thus early, are about to re-commence their labours. Smiths to their anvils, the learned to their studies, the hunter to the chase, and the muleteer to the road. But, above all, I would here have that little old woman, whom Petrarch describes, as with skirts tucked up and barefoot, she has risen to begin her spinning, and is first lighting her fire. Or, if you like to make grottesche of animals, let them be singing-birds, geese going forth to the pasture, cocks announcing the morn, and such like messengers of the day. In the frieze of the wall at ‘the foot,’ you might make, as in harmony with the darkness, people who go birdcatching by candle-light, spies, adulterers, and rogues who clamber into windows; then for grottesche you may take porcupines, hedgehogs, owls, and badgers, with a peacock expanding its tail, which signifies a star-lighted night: also, bats, screech-owls, horned owls, and such like. For the frieze of the right hand wall, as things in harmony with the Moon, you might have fishers of the night, and those who steer by the compass, with necromancers, witches, and such like; for grottesche, a distant light-house, nets still wet, and with fish within them, crabs, which seek their food by moonlight, and, if the space permit, an elephant kneeling in adoration of the moon.

“Lastly, on the frieze of the left hand wall you may have mathematicians with their instruments, thieves, coiners, treasure-seekers, shepherds in their still closed folds, lying around their fires, with objects of similar character. For animals, I would have wolves, foxes, apes, lap-dogs, and whatever other creatures of that malicious and traitorous nature there may be found.

“Now in this part I have spoken my thoughts thus at hazard, merely to intimate the kind of inventions that may here be employed; but as none of them need to be more minutely described, I leave you to imagine them at your own pleasure, knowing that painters are by their nature well-endowed and graceful in all such phantasies. Having thus completed the whole work, therefore, I do not think of anything more to say to you, unless it be that you should consult with Monsignore the Cardinal respecting all, arranging everything after his taste, and adding or diminishing as may be required. Seek, also, on your own part, to do yourself honour. Fare you well.”

But although these fine inventions of Caro were fanciful and ingenious, Taddeo could but execute such of them as the place would contain. It is, however, true that these were the principal part, and they were completed by him with much grace and in a good manner. Beside the chamber here described, and in the last of the three which is dedicated to Solitude, our artist, with the aid of his assistants, depicted our Saviour Christ, preaching to the Apostles in the deserts and woods: to the right we have San Giovanni, an exceedingly well executed figure. In a Story opposite to this are those hermits who have retired to the wilderness to avoid the conversation of men, some even taking out their own eyes, that they may no more see the world, while others are labouring to disturb them, and some are throwing stones at the hermits.

Here also we have the Emperor Charles V., a Portrait from the Life, with the following inscription:—

Post innumeros labores ociosam quietamque vitam traduxit.

Opposite to Charles is the Portrait of the last Grand Turk, who delighted much in solitude, with the inscription which follows:—

Animum a negocio ad ocium revocavit.

Near this last is Aristotle, beneath whom are these words:—

Anima fit sedendo el quiescenao pruaenhor.

Opposite to the above and beneath another figure, by the hand of Taddeo, are written the following:—

Quae ad modum negocii, sic et ocii ratio habenda.

Beneath another we find:—

Odum cum dignitate. Negocium sine periculo.

Opposite to which is a figure with the words:—

Virtutis et liberae vitae magistra optima solitudo.

Another picture bears the legend:—

Plus agunt qui nihil agere videntur.

And the last exhibits the words:—

Qui agit plurima, plurimum peccat.

At a word, this chamber is richly adorned with beautiful figures, as well as with stucco-work and gilding.

But to return to Vignola. The many works which he has written and published, or is now writing,^[29] together with the admirable edifices he has constructed, bear ample testimony to his excellence in architecture, but of this we shall speak further in the Life of Michelagnolo. Returning now to Taddeo, we have to relate that he performed many other works in addition to those we have mentioned, but of these it is not needful now to speak. We may nevertheless mention the chapel which he painted in the Church of the Goldsmiths, which is situate on the Strada Giulia, with a fa9ade in chiaro-scuro, which he painted at San Jeronimo, as he did the Chapel of the High Altar in Santa Sabina. Federigo, his brother, was meanwhile employed on a picture of San Lorenzo extended on his gridiron,^[30] which is in the richly decorated chapel of that Saint in the Church of San Lorenzo-in-Damaso, Paradise is seen to open in this painting, which is expected to prove a very fine one, And, that I may not omit anything which can be useful or pleasing to those who shall read this my work, to what I have already said I will add this also: While Taddeo was working, as we have related, at the Vigna of Pope Julius, and at the fa9ade of Mattiolo the Postmaster, he painted two pictures, of no great size, for Monsignore Innocenzio, the most Illustrious Cardinal di Monte; one of these, which is a very beautiful painting, is now in the Guardaroba of the Cardinal, with many other truly admirable works, ancient and modern; the other has been given away: but as regards the works here in question I will not omit to mention a picture which is as fanciful a production as any -whereof we have spoken.^[31]

In this painting, which is about two oraccia and a halt high, nothing is seen by him who regards it from the ordinary point of view, with the exception of certain letters on a scarlet ground, having the Moon in the centre of them; but if you approach the picture and look at it in a mirror, which is placed over the same in the manner of a canopy, you may clearly perceive the Portrait of Henry II., King of Prance, somewhat larger than life, and as natural as may be; if you lean your brow on the upper part of the frame and look thus at the work, you again see the King, but in the opposite direction to that given by the glass. Nor can this portrait be distinguished unless as thus regarded from above, seeing that it is painted on twenty-eight most slender ridges, which are raised between the lines of the above-mentioned letters. These words, too, have a second meaning besides that which appears at first view. If you look at either extreme of the lines or in the centre you shall find letters of larger size than the others, which altogether make the following inscription:—

Henricus Valesius Dei gratia Gallorum rex invictissimus.

Messer Alessandro Taddei, a Roman and secretary to the Cardinal, and my friend Don Silvano Razzi, who have given me information respecting this picture and many other things, assure me that they do not know from what hand it proceeds, but they say that it was given by Henry II. to Cardinal Carafia, when the latter was in France, and was afterwards presented by Caraffa to Cardinal di Monte, by whom it is prized as a remarkable thing, which it is. The words painted in the picture, and which are seen by those who look at it in the ordinary manner, are the following:—

HEus tu quid viDes nil ut reoR
Nisi lunam crEscentem et E
Regione pos Itam quae eX
Intervallo. GRadatim utI
Crescit nos Admonet ut iN
Una spe fide eT charitate tV
Simul et ego Illuminat I
Verbo Dei crescAmus doneC
Ab eiusdem Gratia fiaT
Lux in nobis Amplissima quI
ESt aeternus iLLe dator luciS
In quo et a quO mortales omneS
Veram lucem Recipere sI
Speram^a in vanUM non sperabiM^a

In the same Guardaroba is a beautiful portrait of Sophonisba Anguisciola, by her own hand, and which had been

presented by herself to Pope Julius II. There is also in this collection an exceedingly ancient book, which merits great esteem; it contains the Bucolics, Georgies, and Æneid of Virgil, in characters so old, that many learned men in Rome and elsewhere have judged it to have been written in the time of Caesar Augustus, or but shortly after, wherefore it is no marvel that the Cardinal should hold it in veneration.^[32] And this shall be the end of the Life of the painter Taddeo Zucchero.

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1. The scenes from the Life of Taddeo, in the drawings of his brother Federigo, very touchingly set forth the grievous circumstances of his life at this period. In one of these we find him drawing from the ancient statues of Rome by moonlight; in another, overcome by home-sickness, by weariness of heart, and by the burning heat of the sun, he has sunk in sleep on the edge of a river, and awaking in a state of delirium, he fills his empty wallet with the pebbles of the shore, which he believes to be pcdntings of Raphael, and which he carries joyfully away upon his back.
2. A disciple of Raphael, and zealous copyist of that master’s works, hut who left few of his own.
3. Daniello di Par. —Bottari.
4. These works have totally perished.
5. Vasari never speaks of this artist but with his unvarying impartiality, although Federigo had conceived an envious hatred of Vasari, which sufficiently appears in the bitter sarcasms appended by him, in the form of marginal notes to the second edition of our author’s book.
6. This work also has been destroyed in the various reparations of the church.
7. These works also have perished by the injuries of time and the weather.
8. See Malvasia, Felsina Pittrice. See also Baldinucci, Vite, &c.
9. They have now (1759), with other admirable works of this noble edifice, been very grievously injured by barbarous maltreatment. —Bottari.
10. “The frank impartiality of Vasari,” remarks a compatriot of our Author, comes in remarkable contrast with the envious acrimony of Federigo, who has but proved his own abjectness of mind, and fixed a deep stein on his reputation, while basely seeking to villify the upright biographer.”
11. Bottari informs us that even in his day, these works had been so completely ruined by re-touching that they could scarcely have been more injured had they been whitewashed.
12. These works are now nearly effaced.
13. Or rather eighteen, as indeed Vasari must have written, this being doubtless a mistake of the copyist or an error of the press.
14. This Livio da Forlì is our Livio Agresti.
15. See Malvasia, Felsina Pittrice
16. In the year 17G0 this picture was in the possession of the Marquis Vitelleschi.— Bottari.
17. The work was afterwards copied on a wall of the Chapel at Caprarola, where it serves as the altar-piece. —Ibid.
18. The first of these Stories only is now in existence, the other has been whitewashed.—Ed. Venet.
19. “Against this passage,” says Bottari, “Federigo has written ‛false friend and malignant detractor’; a description which applies admirably to himself.”
20. This is now in the Pitti Palace
21. Our readers will not have forgotten the Lesbian Theophrastus, by referring to whom Vasari proposes to reprove the too servile imitators of Michael Angelo; but it is nevertheless certain that he must himself be reckoned among them.
22. The Pantheon, that is to say.
23. The paintings in the Farnese Palace at Caprarola were published in Ivoine by G. Prenner, in the year 174b. The work consists ot thirty-six copper-plate engravings, the subjects being events from the lives of the most illustrious members of the Farnese family.
24. This story is not given in the work of Prenner above cited.
25. The Cardinal Jean Bellay, Archbishop of Paris, that is to say.— Bottari.
26. The Cardinal Cristofano!Madruzio, Bishop and Prince of Trent. —Ibid.
27. Bottari informs us that the re-touching which these works had undergone had greatly injured them at the time when he wrote, 1759-61, circa.
28. Brizo (from (Βριστιν, slumber) was the mid-day sleep or the slumber of infants. She made known the future in dreams, and was morre especially worshipped by the women of the Island of Delos, but it was essential tl'.at no fish should be offered on her altars.
29. His Treatise on the Five Orders is called by Milizia “L’Abbicci dell'Architettura.”
30. Not on his gridiron, but in discourse with San Damaso,—Bottari.
31. Vasari, who now proceeds to describe these “rarities” of Cardinal Monte’s Museum, returns no more to Vignola, but our readers will find that accomplished architect mentioned with due honour by the difficult and. exacting Milizia, ut supra
32. This is the renowned Codice Mediceo,now in the Biblioteca Laurenziana. The opinion most common among the learned is that it was written in the fourth century. Towards the middle of the fifth century it was in the possession of the Consul, Tertius Rufus Apronianus Asturius, who has cor rected in red ink certain errors in orthography committed by the copyist.