have procured him high commendations which are fully merited.[1] The same artist has executed the bust of Francesco del Nero in marble, a portrait taken from the life, and so good a one that it does not seem possible to produce a better, from all which we may fairly hope for him the most distinguished success; nay, there can be no doubt but that he will ultimately attain to the highest point of perfection in our arts.
Daniello was a well-conducted and upright man, but so profoundly intent on his studies that he gave but little thought to the remaining circumstances of his life. He was of a melancholy disposition, and in his habits much inclined to solitude. He died at about the age of fifty-seven. I have endeavoured to procure his portrait from those before-mentioned disciples of his, who have taken it in plaster, and when I was in Rome last year they promised that I should have it; but notwithstanding the many letters and messages that I have since sent, they have neglected to forward it to me, thereby showing but little consideration for the memory of their dead master. I have nevertheless been unwilling to be entirely baffled by this ingratitude of theirs, and have therefore added that portrait of Daniello (who was a very good friend of mine) which is given above, although it does not resemble him very closely. It shall nevertheless remain as the proof that I have done my best, and as that also of the little care and regard displayed on this occasion by Michele degli Alberti and Feliciano da San Vito.
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 tole-
- ↑ The palace here in question is on the Campo di Fiore in Rome, and is now called the Spada Palace.
