his disciple.

The Florentine Monsignor M. Giovanni della Casa, a man of great learning
(to which his most pleasing and learned works, both in Latin and in the
vulgar tongue, bear witness), having begun to write a treatise on the
matters of painting, and wishing to enlighten himself as to certain
minute particulars with the help of men of the profession, commissioned
Daniello to make with all possible care a finished model of a David in
clay. And then he caused him to paint, or rather, to copy in a picture,
the same David, which is very beautiful, from either side, both the
front and the back, which was a fanciful notion; and that picture now
belongs to M. Annibale Rucellai. For the same M. Giovanni he executed a
Dead Christ with the Maries; and, on a canvas that was to be sent to
France, AEneas disrobing in order to go to sleep with Dido, and
interrupted by Mercury, who is represented as speaking to him in the
manner that may be read in the verses of Virgil. And he painted for the
same man in another picture, likewise in oils, a most beautiful S. John
in Penitence, of the size of life, which was held very dear by that lord
as long as he lived; and also a S. Jerome, beautiful to a marvel.

Pope Julius III having died, and Paul IV having been elected Supreme
Pontiff, the Cardinal of Carpi sought to persuade his Holiness to give
the above-mentioned Hall of Kings to Daniello to finish, but that Pope,
not delighting in pictures, answered that it was much better to fortify
Rome than to spend money on painting it. And so he caused a beginning to
be made with the great portal of the Castle, after the design of
Salustio, the son of Baldassarre Peruzzi of Siena and his architect, and
ordained that in that work, which was being executed all in travertine,
after the manner of a sumptuous and magnificent triumphal arch, there
should be placed in niches five statues, each of four braccia and a
half; whereupon Daniello was commissioned to make an Angel Michael, the
other statues having been allotted to other craftsmen. Meanwhile
Monsignor Giovanni Riccio, Cardinal of Montepulciano, resolved to erect
a chapel in S. Pietro a Montorio, opposite to that which Pope Julius had
caused to be built under the direction of Giorgio Vasari, and he
allotted the altar-piece, the scenes in fresco and the statues of marble
that were going into it, to Daniello; and Daniello, by that time
completely determined that he would abandon painting and devote