senting 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
