ldassarre da Siena, no one had attained in works
of that kind to the standard that Taddeo had reached, who was then a
young man only eighteen years of age. The stories of the work may be
understood from these inscriptions, of the deeds of Furius Camillus, one
of which is below each scene.

The first, then, runs thus--

TUSCULANI, PACE CONSTANTI, VIM ROMANAM ARCENT.

The second--

M.F.C. SIGNIFERUM SECUM IN HOSTEM RAPIT.

The third--

M.F.C. AUCTORE, INCENSA URBS RESTITUITUR.

The fourth--

M.F.C. PACTIONIBUS TURBATIS PRAELIUM GALLIS NUNCIAT.

The fifth--

M.F.C. PRODITOREM VINCTUM FALERIO REDUCENDUM TRADIT.

The sixth--

MATRONALIS AURI COLLATIONE VOTUM APOLLINI SOLVITUR.

The seventh--

M.F.C. JUNONI REGINAE TEMPLUM IN AVENTINO DEDICAT.

The eighth--

SIGNUM JUNONIS REGINAE A VEIIS ROMAM TRANSFERTUR.

The ninth--

M.F.C. ... ANLIUS DICT. DECEM ... SOCIOS CAPIT.

From that time until the year 1550, when Julius III was elected Pope,
Taddeo occupied himself with works of no great importance, yet with
considerable profits. In which year of 1550, the year of the Jubilee,
Ottaviano, the father of Taddeo, with his mother and another of their
sons, went to Rome to take part in that most holy Jubilee, and partly,
also, to see their son. After they had been there some weeks with
Taddeo, on departing they left with him the boy that they had brought
with them, who was called Federigo, to the end that he might cause him
to study letters. But Taddeo judged him to be more fitted for painting,
as indeed Federigo has since been seen to be from the excellent result
that he has achieved; and so, after he had learned his first letters,
Taddeo began to make him give his attention to design, with better
fortune and support than he himself had enjoyed. Meanwhile Taddeo
painted in the Church of S. Ambrogio de' Milanesi, on the wall of the
high-altar, four stories of the life of that Saint, coloured in fresco
and not very large, with a frieze of little boys, and women after the
manner of terminal figures; which was a work of no little beauty. That
finished, he painted a facade full of stories of Alexander the Great,
beside S. Lucia della Tinta, near the Orso, beginning from his birth and
continuing with five stories of the most noteworthy actions of that
famous man; which work won him much praise, although it had to bear
comparison with another facade near it by the hand of Polidoro.

About that ti