rows of columns; for this Francesco painted certain stories in terretta, which were considered superlatively beautiful.
For a chapel at San Lorenzo in Damaso, Salviati painted two Angels in fresco; they are supporting a canopy, and of one of these angels we have the design by Francesco in our book of drawings. In the Refectory of San Salvator del Lauro at Monte Giordano, our artist painted the Marriage of Cana in Galilee, at which Our Saviour turned water into wine, on the principal wall. There are numerous figures in this work, and on the side walls are certain Saints, with St. Eugenius the Pope, who was of that order, and other founders and distinguished brethren of the same. Over the door of the Refectory, moreover, and on the inner side, he painted a picture in oil, the subject of which is St. George killing the Dragon, a work conducted with much facility, delicacy of finish, and beauty of colouring.
A large picture was sent by our artist about the same time to Messer Alamanno Salviati, who was then in Florence; the subject of this work is Adam and Eve at the Tree of Life eating the forbidden fruit, and the picture is a very beautiful one.[1] For the Signor Ranuccio, of the House of Farnesc, and Cardinal of Sant’ Agnolo, Francesco painted two sides of a small apartment which precedes the great Hall of the Farnese Palace, a work in which he displayed much fancy.
On one of these sides the artist depicted Signor Ranuccio the elder, who receives the Baton of Captain-general of the Holy Church from the hands of Pope Eugenius lY., with figures of the Virtues; and on the other is Pope Paul III., who was also of the House of Farnese, and by whom the Baton of the Church is conferred on the Signor Pier Luigi, while the Emperor Charles V. is seen in the distance, accompanied by Alessandro Cardinal Farnese, and by other nobles, whose portraits are taken from the life. In this work Francesco, in addition to the above-described and many other stories, painted a figure of Fame with other figures, which are very beautiful, but it is to be remarked that the whole was not completed by himself, but was ultimately finished
- ↑ The fate of this work is not known, but Bottari suggests that it mayhave been taken to France, he having found a work on that subject mentioned in Lepiciè, Catalogue raisonne des Tableaux du Roi, Paris, 1752.
