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Afterwards, Francesco, a protégé of the Salviati, and an excellent painter, being in Florence, and assisted by the liberality of Duke Cosimo, commissioned Enea to engrave the large plate of the Conversion of S. Paul, full of horses and soldiers, which was held to be very beautiful, and gave Enea a great name.
The same Enea then executed the portrait of Signor Giovanni de' Medici, father of Duke Cosimo, with an ornament full of figures.
It fell out that when the scrutiny was taken, two cardinals stood well in votes the brilliant, cultured Enea Silvio Bartolomeo de' Piccolomini, Cardinal of Siena, and the French Cardinal d'Estouteville though neither had attained the minimum majority demanded.
Thus we find him writing in January 1546 to the engraver Enea Vico, bestowing high praise upon a copper-plate which a certain Bazzacco had made from the Last Judgment, but criticising the picture as "licentious and likely to cause scandal with the Lutherans, by reason of its immodest exposure of the nakedness of persons of both sexes in heaven and hell."
In like manner, a picture in oils of Our Lady, which he painted for Messer Enea Savini della Costerella, is much extolled, and also a canvas that he executed for Assuero Rettori of S. Martino, in which is the Roman Lucrece stabbing herself, while she is held by her father and her husband, all painted with much beauty of attitude and marvellous grace in the heads.
It is not clear what Aretino expected from Enea Vico. A reference to the Duke of Florence seems to indicate that he wished to arouse suspicions among great and influential persons regarding the religious and moral quality of Michelangelo's work. This malevolent temper burst out at last in one of the most remarkable letters we possess of his.
Enea also designed to the common satisfaction and benefit of all mankind fifty costumes of different nations, such as were worn by men and women, peasants and citizens, in Italy, in France, in Spain, in Portugal, in England, in Flanders, and in other parts of the world; which was an ingenious work, both fanciful and beautiful.
Afterwards, being a man of lofty genius, and desiring to pass on to greater and more honourable undertakings, Enea applied himself to the study of antiquities, and in particular of ancient medals, of which he has published several books in engraving, wherein are the true effigies of many Emperors and their wives, with every kind of inscription and reverse that could bring all who delight in them to a clear understanding of their stories; for which he has rightly won great praise, as he still does.
And if Enea had been maintained and rewarded for his labours by Bandinelli, he would have engraved many other beautiful plates for him.
And no less excellent than any of those mentioned above has been Enea Vico of Parma, who engraved the well-known copper-plate of the Rape of Helen by Rosso, and also another plate after the design of the same painter, of Vulcan with some Loves, who are fashioning arrows at his forge, while the Cyclopes are also at work, which was truly a most beautiful engraving.
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