Federigo,
he employed such interest that he was set, in company with many other
young men who were with Giulio, to labour at that work. There,
attending to the studies of art with much industry and diligence for a
period of six years, he learned very well to handle colours and to
work in stucco; wherefore, among all the other young men who were
labouring in the work of that Palace, Francesco came to be held one of
the most excellent, and the best of all at drawing and colouring. This
may be seen in a great chamber, round which he made two friezes of
stucco, one above the other, with a great abundance of figures that
represent the ancient Roman soldiery; and in the same Palace,
likewise, he executed many works in painting that are to be seen
there, after the designs of the above-named Giulio. Through these
works Primaticcio came into such favour with that Duke, that, when
King Francis of France heard with what quantity of ornaments he had
caused the work of the Palace to be executed, and wrote to him that at
all costs he should send him a young man able to work in painting and
stucco, the Duke sent him Francesco Primaticcio, in the year 1531. And
although the year before that the Florentine painter Rosso had gone
into the service of the same King, as has been related, and had
executed many works there, and in particular the pictures of Bacchus
and Venus, Psyche and Cupid, nevertheless the first works in stucco
that were done in France, and the first labours in fresco of any
account, had their origin, it is said, from Primaticcio, who decorated
in this manner many chambers, halls, and loggie for that King.

[Illustration: DECORATIVE PANELS

(_After =Primaticcio=. Fontainebleau: Galerie Henry II_)

_X. Photo_]

Liking the manner of this painter, and his procedure in every matter,
the King sent him in the year 1540 to Rome, to contrive to obtain
certain antique marbles; in which Primaticcio served him with such
diligence, that in a short time, what with heads, torsi, and figures,
he bought one hundred and twenty-five pieces. And at that same time he
caused to be moulded by Jacopo Barozzi of Vignuola, and by others, the
bronze horse that is on the Campidoglio, a great part of the scenes on
the Column, the statue of Commodus, the Venus, the Laocoon, the
Tiber, the Nile, and the statue of Cleopatra, which are in the
Belvedere; to the end that they might all be cast in bronze. Rosso
having meanwhile died in France, and a l