The same Perino having then caused Daniello to execute a frieze in the hall of the Palace of M. Agnolo Massimi, with many divisions in stucco and other ornaments, and stories of the actions of Fabius Maximus, he bore himself so well, that Signora Elena Orsina, having seen that work and hearing the ability of Daniello much extolled, commissioned him to paint her chapel in the Church of the Trinita in Rome, on the hill, where the Friars of S. Francesco di Paola have their seat. Wherefore Daniello, putting forth all possible effort and diligence, in order to produce a rare work which might make him known as an excellent painter, did not shrink from devoting to it the labour of many years. From the name of that lady, the title given to the chapel being that of the Cross of Christ Our Saviour, the subject chosen was that of the actions of S. Helen; and so in the principal altar-piece Daniello painted Jesus Christ taken down from the Cross by Joseph, Nicodemus, and other disciples, and the Virgin Mary in a swoon, supported on the arms of the Magdalene and the other Maries, in all which he showed very great judgment, and gave proof of very rare ability, for the reason that, besides the composition of the figures, which has a very rich effect, the figure of Christ is very fine and most beautifully foreshortened, with the feet coming forward and the rest backwards. Very beautiful and difficult, likewise, are the foreshortenings in the figures of those who, having removed Him from the Cross, support Him with some bands, standing on some ladders and revealing in certain parts the nude flesh, executed with much grace. Around that altar-piece he made an ornament in stucco-work of great beauty and variety, full of carvings, with two figures that support the pediment with their heads, while with one hand they hold the capital, and with the other they seek to place the column, which stands at the foot on the base, below the capital to support it; which work is done with extraordinary care. In the arch above the altar-piece he painted two Sibyls in fresco, which are the best figures in the whole work; and those Sibyls are one on either side of the window, which is above the centre of the altar-piece, giving light to the whole chapel. The vaulting of the chapel is divided into four compartments by bizarre, well varied, and beautiful partitions of stucco-work and grotesques made with new fantasies of masks and festoons; and in those compartments are four stories of the Cross and of S. Helen, the mother of Constantine. In the first is the scene when, before the Passion of the Saviour, three Crosses are constructed; in the second, S. Helen commanding certain Hebrews to reveal those Crosses to her; in the third, the Hebrews not consenting to reveal them, she causes to be cast into a well him who knows where they are; and in the fourth he reveals the place where all three are buried. Those four scenes are beautiful beyond belief, and executed with great care.