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Updated: June 4, 2025
Finally, after four years, Daniello was ready, so far as concerned him, to cast the above-mentioned horse, but he was obliged to wait many months more than he would otherwise have done, for want of the supplies of iron instruments, metal, and other materials that Signor Ruberto was to give him.
In a chapel in the Church of S. Agostino Daniello painted in fresco, with figures of the size of life, S. Helen causing the Cross to be found, and in two niches at the sides S. Cecilia and S. Lucia, which work was painted partly by him and partly, after his designs, by the young men who worked with him, so that it did not prove as perfect as his others.
But he, having other work to do, made the cartoons and had it finished by Daniello, who completed the S. John that had been left unfinished, painted all by himself the two other Evangelists, S. Luke and S. Matthew, between them two little boys that are holding a candelabrum, and, on the arch of the wall that contains the window, two Angels standing poised on their wings in the act of flight, who are holding in their hands the Mysteries of the Passion of Jesus Christ; and he adorned the arch richly with grotesques and little naked figures of great beauty.
Afterwards, Perino del Vaga, who at that time was painting the Chapel of M. Agnolo de' Massimi in the Trinita, having need of a young man who might help him, Daniello, desiring to make proficience, and drawn by his promises, went to work with him and assisted him to execute certain things in the work of that chapel, which he carried to completion with much diligence.
Disciples of Daniello, likewise, have been Biagio da Carigliano of Pistoia, and Giovan Paolo Rossetti of Volterra, who is a very diligent person and of most beautiful genius; which Giovan Paolo, having retired to Volterra many years ago, has executed, as he still does, works worthy of much praise.
From the name of that lady, the title given to the chapel being that of the Cross of Christ Our Saviour, the subject chosen was that of the actions of S. Helen; and so in the principal altar-piece Daniello painted Jesus Christ taken down from the Cross by Joseph, Nicodemus, and other disciples, and the Virgin Mary in a swoon, supported on the arms of the Magdalene and the other Maries, in all which he showed very great judgment, and gave proof of very rare ability, for the reason that, besides the composition of the figures, which has a very rich effect, the figure of Christ is very fine and most beautifully foreshortened, with the feet coming forward and the rest backwards.
Daniello having then made a little model of clay after the advice and judgment of Michelagnolo, which much pleased Signor Ruberto, an account of everything was written to France, and in the end an agreement was made between him and Daniello as to the method of executing that work, the time, the price, and every other thing.
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 himself to sculpture, went off to Carrara to have the marble quarried both for the S. Michael and for the statues that he was to make for the chapel in S. Pietro a Montorio.
However, I have been unwilling to be hindered by that ingratitude on their part, seeing that Daniello was my friend, and I have included the portrait given above, which, although it is little like him, must serve as a proof of my diligence and of the little care and lovingness of Michele degli Alberti and Feliciano da San Vito.
Of the pictures below, in that on the right hand is the same S. Helen recognizing the Cross of Christ because it restores to life a corpse upon which it is laid; to the nude flesh of which corpse Daniello devoted extraordinary pains, searching out all the muscles and seeking to render correctly all the parts of the body, as he also did in those who are placing the Cross upon it, and in the bystanders, who are all struck with amazement by the sight of that miracle.
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