He then returned to Rome, where, M. Jacopo Mattei, a Roman gentleman, discoursing with Francesco Sant'Agnolo of his desire to have the facade of his house painted in chiaroscuro, Francesco proposed Taddeo to him; but he appeared to that gentleman to be too young, wherefore Francesco said to him that he should make trial of Taddeo in two scenes, which, if they were not successful, could be thrown to the ground, and, if successful, could be continued. Taddeo having then set his hand to the work, the two first scenes proved to be such, that M. Jacopo was not only satisfied with them, but astonished. In the year 1548, therefore, when Taddeo had finished that work, he was vastly extolled by all Rome, and that with good reason, because after Polidoro, Maturino, Vincenzio da San Gimignano, and Baldassarre da Siena, no one had attained in works of that kind to the standard that Taddeo had reached, who was then a young man only eighteen years of age. The stories of the work may be understood from these inscriptions, of the deeds of Furius Camillus, one of which is below each scene. The first, then, runs thus-- TUSCULANI, PACE CONSTANTI, VIM ROMANAM ARCENT. The second-- M.F.C. SIGNIFERUM SECUM IN HOSTEM RAPIT. The third-- M.F.C. AUCTORE, INCENSA URBS RESTITUITUR. The fourth-- M.F.C. PACTIONIBUS TURBATIS PRAELIUM GALLIS NUNCIAT. The fifth-- M.F.C. PRODITOREM VINCTUM FALERIO REDUCENDUM TRADIT. The sixth-- MATRONALIS AURI COLLATIONE VOTUM APOLLINI SOLVITUR. The seventh-- M.F.C. JUNONI REGINAE TEMPLUM IN AVENTINO DEDICAT. The eighth-- SIGNUM JUNONIS REGINAE A VEIIS ROMAM TRANSFERTUR. The ninth-- M.F.C. ... ANLIUS DICT. DECEM ... SOCIOS CAPIT.