Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 2.djvu/353

Rh was a tolerably good master in his day, and, although he brought but few works to completion, yet those few are abundantly worthy of commendation. It cannot, however, be any matter of astonishment, that few works only proceeded from the hands of this artist, since he, being a facetious merry fellow, and a lover of good cheer, who harboured few serious thoughts, would never work but when he was compelled to do so. It was his custom to declare that “labouring and toiling for ever, without giving one’s self a taste of pleasure in this world, was not fit for a Christian man.” Jacopo lived in very close intimacy with Michelagnolo, for when that master, excellent above all that ever lived, desired to recreate himself, after the continued studies and perpetual fatigues to which he subjected both mind and body, there was no one more acceptable to him, or more after his own heart, than Jacopo l’Indaco.

This artist laboured many years in Rome, or, to be more exact, he lived many years in Rome, but laboured there very little: the first chapel to the right of the entrance in the church of Sant’ Agostino, as you enter by the door of the principal front, was painted by his hand. On the ceiling are the Apostles receiving the Holy Spirit, and there are two historical pictures on the wall beneath, representing events in the life of Christ: in one of these the Saviour is depicted calling Peter and Andrew from their nets, and in the otlier is the Supper of Simon and the Magdalen: in the latter is a ceiling of woodwork, which is painted with remarkable fidelity. The altar-piece for the same chapel is also by his hand: this he painted in oil: it represents the Dead Christ, executed and finished with great diligence and ability. In the church of the Trinity, in Rome, there is also a small picture by Jacopo l'Indaco, a Coronation of the Virgin namely. But why need we say more? or, what