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,[1] 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,[2] 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
