Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/171

Rh did not give his principal attention to the preparation of votive images or otFerings, as did his father; he occupied himself in works of Tarsia likewise, and inlaid steel with gold or silver, after the fashion of Damascus, representing foliage, figures, or whatever else he pleased; and making, among other works, an entire suit of armour, to he used by a foot-soldier, for the Duke Alessandro de’ Medici. Among many other medals of great beauty by the hand of this artist, were those bearing the head of the above-named Alessandro, which were placed in the foundations of the Portresses at the Gate of Paenza, with some others, on which the head of Pope Clement VII. appeared on the one side, and a nude figure of our Saviour Christ on the other, accompanied by the instruments used in the flagellation of our Lord. Prancesco del Prato found great delight in works of sculpture also, and likewise cast certain small figures in bronze, which were singularly graceful; these came ultimately into the possession of the Duke Alessandro. The same artist polished and brought to high perfection four figures, alb of the same size, which had been commenced by Baccio Bandinelli; a Leda namely, a Venus, a Hercules, and an Apollo, all which were given to the above-named Duke.

The art of the goldsmith having at length become distasteful to Prancesco di Girolamo, he, not having the means requisite for pursuing that of the sculptor, which demands considerable resources, then devoted himself to painting, being already a good designer as we have said. Francesco held intercourse with but few people, nor did he wish to let it be known that he was proposing to practise painting; he therefore kept the works he attempted to himself; at this time it was that Prancesco Salviati came to Plorence, and worked in the rooms which Francesco di Girolamo del Prato occupied in the House of Works to the Cathedral, where Salviati painted his picture for Messer Alamanno; and Francesco del Prato, having thus an opportunity of seeing his methods of proceeding, betook himself to paint with more zeal than ever, and executed a very beautiful picture, the subject whereof was the Conversion of St. Paul: this is now in the possession of Guglielmo del Tovaglia. He subsequently delineated, in a picture of similar size, the Pall of Serpents by which the people of Israel were afflicted; and in another he represented Jesus Christ