at length restored to health and once more in Rome, resumed his
usual studies, but with more care of himself than he had taken in the
past, and learned so much under a certain Jacopone, that he came into
some credit. Wherefore the above-mentioned Francesco, his kinsman, who
had behaved so cruelly toward him, perceiving that he had become an able
master, and wishing to make use of him, became reconciled with him; and
they began to work together, Taddeo, who was of a kindly nature, having
forgotten all his wrongs. And so, Taddeo making the designs, and both
together executing many friezes in fresco in chambers and loggie, they
went on assisting one another.

Meanwhile the painter Daniello da Parma, who had formerly been many
years with Antonio da Correggio, and had associated with Francesco
Mazzuoli of Parma, having undertaken to paint a church in fresco for the
Office of Works of S. Maria at Vitto,[21] beyond Sora, on the borders of
the Abruzzi, called Taddeo to his assistance and took him to Vitto. In
which work, although Daniello was not the best painter in the world,
nevertheless, on account of his age, and from his having seen the
methods of Correggio and Parmigiano, and with what softness they
executed their paintings, he had such experience that, imparting it to
Taddeo and teaching him, he was of the greatest assistance to him with
his words; no less, indeed, than another might have been by working
before him. In that work, which was on a groined vaulting, Taddeo
painted the four Evangelists, two Sibyls, two Prophets, and four not
very large stories of Jesus Christ and of the Virgin His Mother.

[Footnote 21: Alvito.]

He then returned to Rome, where, M. Jacopo Mattei, a Roman gentleman,
discoursing with Francesco Sant'Agnolo of his desire to have the facade
of his house painted in chiaroscuro, Francesco proposed Taddeo to him;
but he appeared to that gentleman to be too young, wherefore Francesco
said to him that he should make trial of Taddeo in two scenes, which, if
they were not successful, could be thrown to the ground, and, if
successful, could be continued. Taddeo having then set his hand to the
work, the two first scenes proved to be such, that M. Jacopo was not
only satisfied with them, but astonished. In the year 1548, therefore,
when Taddeo had finished that work, he was vastly extolled by all Rome,
and that with good reason, because after Polidoro, Maturino, Vincenzio
da San Gimignano, and Ba