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| Francesco Salviati Chamber of Apollo - Ceiling (Story of Apollo and Marsyas) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Ceiling (Story of Apollo and Marsyas) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Ceiling (Story of Apollo and Marsyas) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Ceiling (Story of Apollo and Marsyas) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Ceiling (Story of Apollo and Marsyas) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Ceiling (Story of Apollo and Marsyas) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Lunette (Origins of the Grimani Family) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Lunette (Origins of the Grimani Family) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Lunette (Origins of the Grimani Family) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
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| Francesco Salviati Chamber of Apollo - Lunette (Origins of the Grimani Family) ca. 1539-40 fresco, in stucco frames by Giovanni da Udine Palazzo Grimani, Venice |
"Salviati departed from Rome late in 1538 or early in 1539 to return to Florence briefly, from which he travelled via Bologna (where he was for a while with Vasari, then working there) to Venice, remaining in Venice until 1541. He returned to Rome by way of Verona, Mantua, and the Romagna. In Venice his chief patrons were the Grimani, in whose palace he executed (in stucco frames by Giovanni da Udine) two small decorations all'antica. They give evidence of an important experience, newly gained by Salviati outside Rome, of the Bolognese paintings of Parmigianino. The kind and quality of grace that Salviati observed in Parmigianino gave his strained calligraphy new fluency, while not diminishing its complexity or power. More important, Parmigianino's style did more than demonstrate a mode of ornament; it revealed that stylization could create high elegance. Two Roman years that followed the North Italian trip show Salviati's process of assimilation of what he had acquired."
– S.J. Freedberg from Painting in Italy - 1500 to 1600 in the Pelican History of Art series (London, 1971)
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| Francesco Salviati Head of a Woman undated drawing Rijksmuseum, Amsterdam |
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| Francesco Salviati Head of a Woman undated drawing Rijksmuseum, Amsterdam |
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| Francesco Salviati Neptune before a niche with Amphitrite undated drawing Rijksmuseum, Amsterdam |
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| Francesco Salviati Youth seated on the ground undated drawing British Museum |