Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/158

146 sured by the enemies of Francesco, but it has nevertheless acquired for him a very great name in all parts, and those who have since treated the same subject in rivalry of our artist have found it impossible to surpass him.

Before leaving Florence Francesco likewise painted the Portrait of the above-mentioned Messer Lelio Torelli, with some few other matters of but little importance, of which I do not know the particulars. But one among these productions is to be specified as exceedingly beautiful, a Conversion of St. Paul namely, which the artist had designed in Pome long before: this he caused to be engraved on copper in Florence by Enea Vico of Parma, and the Duke was content to retain him in the city until that work should be accomplished, with payment of all his accustomed appoint ments and allowances.

At that time, which was in the year 1548, Giorgio Vasari was in Pimini, employed on the execution of those works in oil and fresco, whereof there is mention in another place, when Francesco sent him a long letter, giving a circumstantial account of all his affairs, and most especially describing the manner wherein things had passed at Florence: he spoke more particularly of a design which he had prepared for the principal Chapel of San Lorenzo, which chapel was then to be painted by order of the Signor Duke. But Francesco added that in relation to the chapel he felt certain that some one had done him infinite mischief with his Excellency, declaring, among other things, that he was sure the Majordomo, Messer Pier Francesco, had never laid his design for the same before the Duke. The consequence of this had been, he furthermore affirmed, that the work had been given to Pontormo, and he finished with the remark that for these causes he was returning to Pome, much dissatisfied with the men and artists of his native country.

Having returned to Pome, and re-instated himself in that city accordingly, Francesco there bought himself a house near the Palace of Cardinal Farnese, amusing himself meanwhile with the execution of works which were of no great importance. He then received a commission from the abovementioned Cardinal, by the intervention of Messer Annibale Caro and Don Giulio Clovio, to paint the chapel of the