Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 5.djvu/177

Rh and many small nude figures of great beauty: be acquitted liimself, in short, in the most creditable manner throughout the whole work, although it is true that he took much time to finish it.

The same Perino subsequently gave to Daniello the Frieze of a Hall in the Palace of Messer Agnolo Massimi; and here too, the latter depicted various stories, these were from the Life of Fabius Maximus, he executed the stucco-work compartments likewise, with the other ornaments, so well, that the Signora Elena Orsina, beholding that work, and hearing the ability of Daniello much extolled, gave him the commission for painting a Chapel belonging to her, in the Church of the Trinità at Home, which is situate on that hill whereon the monks of San Francesco di Paola have their abode.

Wherefore, Daniello, putting forth his utmost diligence, in the hope of producing an excellent work, and one which should make him known as an able artist, did not shrink from bestowing on it the labour of many years. Now, from the name of that Lady, the Chapel had received the title of the ‘‘ Cross of Christ Our Lord;” and the subject of the Stories depicted therein was taken from the Life of Sant’ Elena; thus, in the first picture, Daniello exhibits Our Saviour Christ deposed from the Cross, by Joseph and Nicodemus, with the other Disciples; the Swooning of the Virgin Mary is also represented, she is supported in the arms of the IMagdalen; and the other Maries are around her. In this work our artist showed much judgment, and did indeed prove himself to be a man of ability; for, to say nothing of the composition, which is excellent, the figure of Christ is an admirable one, very finely foreshortened, the feet projecting forward, while the remainder of the person falls back. The figures of those who are removing the Saviour are, in like manner, very ably foreshortened, a work of no small difficulty; they stand on ladders and hold the body, which they liave taken down, involved amidst its draperies, their own forms being partly draped also, but partly nude, and in some of these nude parts, which are very gracefully done, these figures give evidence of much ability in the artist.

Around this picture Daniello then executed a rich frame of stucco work, exhibiting numerous carvings, with two figures, which support the Fronton with their heads, while