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Updated: May 4, 2025
Now, since the walls of that Hall are broken by six large doors in variegated marble, and only one wall is left unbroken, Daniello made over each door what is almost a tabernacle in stucco, of great beauty.
Abiding in Florence, then, and perceiving how much the Lord Duke delighted in all the arts of design, Daniello was seized with a desire to attach himself to the service of his most illustrious Excellency.
Around the bronze statue of Louis XIII., proudly erect on the noble horse cast by Daniello da Volterra, in the midst of the gardens, fine ladies were carried in their sedan-chairs and angry gallants fought out their quarrels. And now on this royal Place, the Perle du Marais, the scene of these brilliant revels, peaceful inhabitants of the east of Paris sun themselves and children play.
But the work that proved to be more beautiful than all the rest was a story of Phaëthon, executed in fresco with figures of the size of life, and a very large River God that he painted there, which is a very good figure; and all these works, since the above-named Cardinal went often to see them, and took with him now one and now another of the Cardinals, were the reason that Daniello formed a friendship and bonds of service with many of them.
Pope Paul IV having died, Pius was elected, likewise the Fourth of that name, who, much delighting in building, availed himself of Pirro Ligorio in matters of architecture; and his Holiness ordained that Cardinals Alessandro Farnese and Emulio should cause the Great Hall, called the Hall of Kings, to be finished by Daniello da Volterra, who had begun it.
And when it was finished, he placed it with an epitaph in the Church of S. Michele Berteldi on the Piazza degli Antinori; in which Daniello proved himself, by that truly loving office, to be a man of rare goodness, and a different sort of friend to his friends from the kind that is generally seen at the present day, when there are very few to be found who value anything in friendship beyond their own profit and convenience.
Wherefore, having arrived in Rome, he spoke long of the matter with Michelagnolo, who, not being able, because he was old, to accept that undertaking himself, advised Signor Ruberto to give it to Daniello, saying that he would not fail to give him all the counsel and assistance that he could.
But in the end, all these things having been provided, Daniello embedded the mould, which was a vast mass, between two furnaces for founding in a very suitable room that he had at Monte Cavallo.
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.
Many others have occupied themselves with copper-plate engraving, who, although they have not attained to such perfection, have none the less benefited the world with their labours, by bringing many scenes and other works of excellent masters into the light of day, and by thus giving the means of seeing the various inventions and manners of the painters to those who are not able to go to the places where the principal works are, and conveying to the ultramontanes a knowledge of many things that they did not know. And although many plates have been badly executed through the avarice of the printers, eager more for gain than for honour, yet in certain others, besides those that have been mentioned, there may be seen something of the good; as in the large design of the Last Judgment of Michelagnolo Buonarroti on the front wall of the Papal Chapel, engraved by Giorgio Mantovano, and in the engravings by Giovan Battista de' Cavalieri of the Crucifixion of S. Peter and the Conversion of S. Paul painted in the Pauline Chapel at Rome. This Giovan Battista has also executed copper-plate engravings, besides other designs, of the Meditation of S. John the Baptist, of the Deposition from the Cross that Daniello Ricciarelli of Volterra painted in a chapel in the Trinit
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