Lives of the most Eminent Painters Sculptors and Architects, Vol. 08 (of 10): Bastiano to Taddeo ZuccheroVasari, Giorgio
History
Lives of the most Eminent Painters Sculptors and Architects, Vol. 08 (of 10): Bastiano to Taddeo Zucchero
Vasari, Giorgio
Art, Italian; Artists -- Italy -- Biography
But let us come to his works, leaving aside those that are not worthy of
attention; in his youth he painted in fresco at Volterra the facade of
M. Mario Maffei, in chiaroscuro, which gave him a good name and won him
much credit. But after he had finished it, perceiving that he had there
no competition that might spur him to seek to rise to greater heights,
and that there were no works in that city, either ancient or modern,
from which he could learn much, he determined at all costs to go to
Rome, where he heard that there were not at that time many who were
engaged in painting, excepting Perino del Vaga. Before departing, he
resolved that he would take some finished work that might make him
known; and so, having painted a canvas in oils of Christ Scourged at the
Column, with many figures, to which he devoted all possible diligence,
availing himself of models and portraits from life, he took it with him.
And, having arrived in Rome, he had not been long there before he
contrived by means of friends to show that picture to Cardinal Triulzi,
whom it satisfied in such a manner that he not only bought it, but also
conceived a very great affection for Daniello; and a short time
afterwards he sent him to work in a village without Rome belonging to
himself, called Salone, where he had built a very large house, which he
was having adorned with fountains, stucco-work, and paintings, and in
which at that very time Gian Maria da Milano and others were decorating
certain rooms with stucco and grotesques. Arriving there, then,
Daniello, both out of emulation and from a desire to serve that lord,
from whom he could hope to win much honour and profit, painted various
things in many rooms and loggie in company with the others, and in
particular executed many grotesques, full of various little figures of
women. But the work that proved to be more beautiful than all the rest
was a story of Phaethon, executed in fresco with figures of the size of
life, and a very large River God that he painted there, which is a very
good figure; and all these works, since the above-named Cardinal went
often to see them, and took with him now one and now another of the
Cardinals, were the reason that Daniello formed a friendship and bonds
of service with many of them.
Public-domain text, read in full here on John Shaqi.
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