Lives of the Most Excellent Painters, Sculptors, and Architects/Daniello Ricciarelli

by Giorgio Vasari

 

DANIELLO RICCIARELLI, PAINTER AND SCULPTOR OF VOLTERRA.

[born 1491, circa. — died 1566.]

Daniello Ricciarelli acquired some knowledge of design in his youth from Giovanni Antonio Razzi, at the time when the latter was executing certain labours in Volterra; but on the departure of Razzi he made much sounder and more rapid progress under Baldassare Peruzzi, although, to say the truth, he did not at that time derive any very great benefit from his studies with either of these masters, seeing that by so much as he was impelled to exertion by a tirm will and eager desire for knowledge, by as much was he impeded by the want of natural genius and readiness of hand. In his first works at Volterra we perceive much, nay, infinite industry, but not the promise of a grand or beautiful manner; neither grace, loveliness, nor power of invention are to be perceived in these paintings, as they are in those of so many other artists even at the earliest hour. Born to be painters, these last have given evidence of boldness, facility, and the commencement of a good manner, even in their very first attempts. The early works of Daniello, on the contrary, offer proof of having been produced by a slow and melancholy hand; they are manifestly executed with much patience and at great cost of time; but the traces of heavy labour are also clearly apparent.

But to come to particulars: leaving out of the account such pictures as do not merit attention, I find that in his youth Daniello painted the fa9ade of a house in Volterra, belonging to Messer^[1] Mario Maffei; this he executed in chiaro-scuro, acquiring a fair name and much credit by the work. Having finished this, and seeing that there was no one in Yolterra with whom he could enter into competition, while there were also no works in that city,^[2] whether ancient or modern, from which he could learn much, he resolved on making every effort to reach Borne, where he had heard that there were not many artists much engaged at that time in painting, with the sole exception of Perino del Vaga. But prior to his departure, Daniello desired earnestly to prepare some painting which he might take with him, and ultimately produced a picture of Christ scourged at the Column. This work, which was in oil, comprised many figures, and having given all his wonted diligence to its completion, for which he used many models and portraits from the life, he took it with him to Borne.

Arrived in the city, Daniello had not been there any very long time before the picture just mentioned was made known, by means of certain of his friends, to the Cardinal Triulzi, who was so highly satisfied therewith, that he not only purchased the same, but conceived a great liking for Daniello, whom he despatched shortly afterwards to one of his dwellings, a large building called the Salone, which he had erected outside Borne, and which he was then causing to be decorated with stucco-works, fountains, and pictures by Giovanni Maria da Milano, and other artists, who were employed there precisely at that moment, all busied in adorning the same with stuccoes and grottesche. Having reached this place therefore, Daniello, incited by the spirit of emulation, and also desiring to serve effectually that Noble, from whom he might reasonably hope much honour as well as profit, began at once to paint various stories in the different apartments

m2 and galleries, all which Daniello executed in company with the other artists before alluded to; more particularly may be mentioned certain grottesche, which our artist filled with innumerable figures of women, all of very minute dimensions.

But that in which he was most especially successful was a story of Phaeton, in fresco, the figures of which were as large as life; there is indeed a River-god of colossal dimensions, which is an excellent figure. Now the Cardinal very frequently visited all these works while they were in course of execution, and as he took with him, now one person and now another, that circumstance caused Daniello to be made known to, and to form a friendship with, not a few among these visitors. At a somewhat later period it chanced that Perino del Vaga, who was then painting the Chapel of Messer Agnolo de’Massimi at the Trinità, required the aid of a young man for that work; and Daniello, who desired to learn all that he could, and was besides attracted by the promises of Perino, engaged himself to that artist, assisting him to execute many things in the above-named Chapel, all which Daniello performed with infinite diligence. Meanwhile, and before the sack of Rome, Perino having painted the Ceiling of the Chapel of the Crucifix in San Marcello, as we have said, depicting therein the Creation of Adam and Eve in figures as large as life, with figures of two Evangelists, San Giovanni and San Marco namely, which were much larger; the men of the Company who had commissioned him to execute that work, determined, when Rome had been restored to a state of quiet, that these figures, which were not finished, should then receive the requisite additions, the San Giovanni still requiring completion from the middle upwards.

But Perino had at that time other work on hand, and having prepared the Cartoons, he caused Daniello to proceed with them; when the latter first finished the San Giovanni, and subsequently added the two figures of the other Evangelists, San Luca and San Matteo, with two Boys holding Chandeliers between them. There are besides two Angels from his hand, within the arch of that side of the wall in which are the windows; they are represented as in the act of flight, and hovering, suspended on their wings, they display the „ instruments used in the Crucifixion of our Lord: the arch itself was very richly adorned by Daniello with grottesche, and many small nude figures of great beauty: be acquitted liimself, in short, in the most creditable manner throughout the whole work, although it is true that he took much time to finish it.^[3]

The same Perino subsequently gave to Daniello the Frieze of a Hall in the Palace of Messer Agnolo Massimi; and here too, the latter depicted various stories, these were from the Life of Fabius Maximus, he executed the stucco-work compartments likewise, with the other ornaments, so well, that the Signora Elena Orsina, beholding that work, and hearing the ability of Daniello much extolled, gave him the commission for painting a Chapel belonging to her, in the Church of the Trinità at Home, which is situate on that hill whereon the monks of San Francesco di Paola have their abode.

Wherefore, Daniello, putting forth his utmost diligence, in the hope of producing an excellent work, and one which should make him known as an able artist, did not shrink from bestowing on it the labour of many years. Now, from the name of that Lady, the Chapel had received the title of the ‘‘ Cross of Christ Our Lord;” and the subject of the Stories depicted therein was taken from the Life of Sant’ Elena; thus, in the first picture, Daniello exhibits Our Saviour Christ deposed from the Cross, by Joseph and Nicodemus, with the other Disciples; the Swooning of the Virgin Mary is also represented, she is supported in the arms of the IMagdalen; and the other Maries are around her. In this work our artist showed much judgment, and did indeed prove himself to be a man of ability; for, to say nothing of the composition, which is excellent, the figure of Christ is an admirable one, very finely foreshortened, the feet projecting forward, while the remainder of the person falls back. The figures of those who are removing the Saviour are, in like manner, very ably foreshortened, a work of no small difficulty; they stand on ladders and hold the body, which they liave taken down, involved amidst its draperies, their own forms being partly draped also, but partly nude, and in some of these nude parts, which are very gracefully done, these figures give evidence of much ability in the artist.

Around this picture Daniello then executed a rich frame of stucco work, exhibiting numerous carvings, with two figures, which support the Fronton with their heads, while with one hand they hold the Capital, and with the other they appear to be placing the shaft which supports it, and which, half-resting on the base, is already attached to the capital; the whole work is performed with incredible care and pains. In the arch above the picture, Daniello painted two Sybils in fresco, and these are the best figures of the whole; they stand, one on each side of the window, which rises above the centre of the picture, and gives light to the chapel. The ceiling of the chapel is divided into four compartments by fanciful, beautiful, and richly varied designs in stucco and grottesche, to which are added very new and original masks and festoons: within these compartments arefour stories of the Cross and of St. Helena, the Mother of Constantine. The first of these represents the fabrication of the three Crosses, which took place before the Passion of our Lord; in the second is St. Helena commanding certain Hebrews to show her these Crosses; in the third she is giving orders to the effect that those who, having knowledge of the same, have refused to impart it to her, shall be cast into a well; and in the fourth are seen the Hebrews pointing out to her the place wherein all the three Crosses were buried. These four Stories are beautiful to an extraordinary degree, and are executed with remarkable care.

On the side-walls of the chapel are four other stories— two on either side that is to say—each being divided into two parts by the cornice which forms the impost of the arch, on which reposes the vaulting of the said chapel. In one of these stories is St. Helena, who is causing the Holy Cross, with the other two Crosses, to be drawn from a well; in the second is the Cross of the Saviour distinguished by its cure of a sick person. The pictures which are beneath exhibit, one, the above-named St. Helena, who recognizes the Cross of Christ by its resuscitation of a dead man; and the other, which is opposite to it, the Emperor Heraclius, walking barefoot and divested of his imperial robes, as he bears the Cross of the Redeemer through the gate of Rome.^[4] Here are seen large numbers of women and children, with men also kneeling in adoration of the Cross: many Barons of the Emperor are also present with an Esquire, who holds the horse of the Monarch. Of the dead man raised to life bj the Cross of our Lord, as above-mentioned, it is to be remarked that Daniello bestowed infinite pains on the muscular development of this form, having studied the anatomy, and exhibited every minutia of the various parts with marvellous exactitude. He did as much for the figures of those who are placing this dead man upon the Cross, and for the bystanders, who remain astounded at the miracle they behold. He furthermore imagined a most fanciful bier, or cataletto, with a skeleton of the human form embracing the same, all which gives proof of rich invention, and is executed with infinite care and diligence.

Beneath these pictures, and serving as a species of socle or basement for each, are two female figures in chiaro-scuro, made to imitate marble, and singularly beautiful: they appear to support the stories. In the space beneath the first arch, and on the front of the chapel, are two figures standing upright; they are of the size of life, and represent, one San Francesco di Paola, the Founder of the Order by which Divine Service is performed in that church; and the other St. Jerome in his robes as a Cardinal. These are two beautiful figures; but the same may, indeed, be averred with truth of all in the work, which Daniello completed with incalculable pains and study, after having spent therein the space of seven years.

But paintings executed in this manner have always a something of laboured hardness, and the work in question is altogether wanting in that graceful facility which alone is capable of entirely satisfying the spectator. Wherefore, Daniello himself, admitting the pains which he had bestowed on the work, and fearing the censures to follow, which in fact he did not escape,—Daniello, I say, finished all by adding beneath the feet of the two Saints, partly from caprice, but partly also as a kind of defence, two smaller stories in stucco-work of basso-rilievo, wherein he designed to show that his imitation of his friends Michelagnolo Buonarroti and Fra Bastiano del Piombo, whose precepts and methods of action he did indeed closely follow, ought to suffice for his defence (even though his proceedings were laborious and slow), against the attacks of those envious and malignant persons whose evil nature often betrays itself when they least expect it. To this end our artist represented in one of these stories a crowd of Satyrs engaged in weighing legs, arms, and other members of the human form in a balance, making note of such as are of just weight, and referring all they find wrong, incorrect, or defective, to Michelagnolo and Fra Bastiano, who are holding judgment thereon.^[5] In the other Story is Michelagnolo looking at himself in a glass, the signification of which is sufficiently clear.^[6]

In the two angles of the outer arch, Daniello executed two nude figures in chiaro-scuro, which are equal in excellence to those presented by the other portions of the work. This last having been given to public view after the lapse of the long time we have specified, was upon the whole much commended, and admitted to be a fine as well as a difficult performance; Daniello being at the same time acknowledged to merit the name of an-excellent artist. Having completed this Chapel, the Cardinal Alessando Farnese caused the master to make a Frieze of much beauty in one of the rooms of his palace. In this chamber and three others of great size, which follow consecutively, rich ceilings had been prepared under the direction of Maestro Antonio da Sangallo; and here Daniello was now commanded to paint a story with figures on each wall, in addition to the frieze. The subjects chosen were a Triumph of Bacchus, a Hunting party, and other exercises of similar character; all which pleased the Cardinal greatly, and that prelate caused the artist to add the Unicorn in the lap of a Virgin, which is the impress of his most illustrious family, to the various divisions of the work. These labours caused the noble in question, who has ever been the friend of all able and disdistinguished men, to show much favour to Daniello, and he would doubtless have done even more for him had he not been so dilatory in his mode of working; yet this was not the fault of Daniello, seeing that such was his nature and genius; nor could he ever content himself with doing much and badly, preferring, on the contrary, and with good reason, always to do little and well. In addition to the favour of the Cardinal, Daniello enjoyed that of the Signor Annibale Caro, who laboured so earnestly on his behalf with the Signori Farnesi his lords, that they were ever ready to afford him protection and to give him their aid.

For Madama Margherita of Austria, the daughter of the Emperor Charles Y., Daniello executed certain decorations in the Palazzo de’ Medici at Navona; these were in that Study or Library of which we have made mention in the Life of Indaco, and consisted of eight stories from the acts of Charles V., which Daniello painted in eight compartments of that room, completing them with so much diligence and success that, for a work of that character, one could scarcely find a more advantageous example. In the year 1547, and when Perino del Vaga had died, leaving unfinished the Hall of the Kings—which, as we have said, is in the Papal Palace near the Sistine and Pauline chapels—Daniello, by the intervention of certain nobles and friends of his. Michelagnolo more especially, was appointed by Paul III. to fill Perino’s place, with a stipend similar to that which had been received by the latter, and was commanded first to commence those ornaments of the walls which were to be executed in stucco, with certain figures in full relief, that were to be placed on the summit of some gables belonging to the same apartments.

Now the walls of this great Hall are broken by six large doors, three on each side, and it has but one end remaining free from interruption. Daniello, therefore, contrived a sort ' of Tabernacle over each of these doors; this he constructed in stucco-work of great beauty; and within them all he proposed to paint figures of those Kings by whom the faith of Christ has been defended, one in each tabernacle. He then designed to depict stories on the walls, all relating to such monarchs as had benefited the Apostolic Church by victories or tributes. There were thus to be six pictures, and six tabernacles or niches. All these niches being finished, Daniello then, with the aid of others, completed the rich decorations in stucco-work, which are seen in other parts of that hall, while he was also preparing and studying the Cartoons for such paintings as he designed to delineate therein. This being done, he commenced the execution of one of the stories, but did not paint more than about two braccia, with two of the kings in the tabernacles over the doors. For, although much pressed to hasten his movements by Cardinal Farnese as well as the Pope, he conducted the work very slowly, not considering that Death but too frequently steps in to spoil designs which are too long deferred; insomuch, that when Pope Paul departed this life in 1549, there was no part of the work completed but that indicated above.

At this time it became necessary to clear the Hall for the Conclave which was to assemble there, the whole space being filled with the scaffoldings and wood-work erected for the execution of the paintings and stuccoes; all these impedi-, ments had now to be removed, and the pictures were consequently given to view. The decorations being thus seen by every one, the stucco-work was very greatly extolled, as indeed it merited to be; but not so the two pictures of the Kings, which were far from approaching the excellence of the paintings executed at the Trinità, insomuch that Daniello, with all those fine appointments and rich stipends, was adjudged to have rather retrograded than made improvement in his manner.

In the year 1550 Julius III. was created High Pontiff, when Daniello put himself forward by means of his friends, in the hope of retaining the same salaries, and of being permitted to continue the works of the Hall; but the Pope, did not show the wished-for disposition towards him, and put off the question continually; nay, when he afterwards turned his attention to matters of art, his Holiness sent to summon Giorgio Vasari, who had already been in his service —when that Pontiff was Archbishop of Sipontino namely— Daniello was nevertheless employed some time after, and the matter happened on this wise. His Holiness resolved to construct a fountain at the head of the Corridor of the Belvedere; and the design presented by Michelagnolo, which was a figure of Moses striking the Rock whence he causes the waters to flow, did not please him, seeing that its execution was likely to occupy much time, since it was to be sculptured in marble. It was therefore decided, in pursuit of the counsel of Giorgio, that a divine figure of Cleopatra made by the Greeks, should be used for the purposes of that fountain, when the charge of the work, by the intervention of Buonarroti, was given to Daniello of Volterra, with orders that a grotto in stucco-work should be first erected, and the figure of Cleopatra then placed within it.^[7]

Daniello set hand to the preparations accordingly, but, although earnestly requested to hasten, his proceedings were so exceedingly dilatory that he did but complete the decorations in stucco and paintiRg, leaving many other things, which the Pope wished to have done, in a state of suspension for so long a time, that all interest in the undertaking departed from the mind of His Holiness, and the work was not finished at all, everything being suffered to remain as we now see it.

In the Church of Sant’ Agostino, Daniello painted a fresco of the size of life in one of the Chapels; a figure of St. Helena namely, who is causing the holy Cross to be restored to the light of day. He likewise added figures of St. Cecilia and St. Lucia in two niches of the side walls; but these figures were painted in part only by himself, having been principally executed after his designs by the young men who were with him; the work does therefore not display so high a degree of perfection as do some other of Daniello’s performances.

About the same time, a Chapel in the Church of the Trinità, which stands opposite to that of the Signora Elena Orsina, was entrusted to Daniello by the Signora Lucrezia della Rovere. Having first prepared certain compartments by means of stucco-work, Daniello then caused the Vaulting to be decorated with Stories from the Life of the Virgin, by Marco da Siena and Pelegrino da Bologna, while on one of the walls he commissioned the Spaniard Bizzera to depict a Nativity of the Madonna, and permitted his own disciple, Giovan Paolo Rosselli, of Volterra, to represent the Infant Christ presented to Simeon, on the other.

This last-named artist likewise painted Gabriello, the Angel of the Annunciation, and the Birth of Christ, in the uppermost range of Arches.

On the angles of the outer side, moreover, our artist placed two large figures, with two Prophets, beneath the Pilasters. The façade of the Altar Daniello painted with his own hand; here he depicted Our Lady ascending the steps of the Temple; and on the principal wall he also painted the Virgin, borne to heaven by numerous Angels, under the forms of most beautiful Children, the Apostles meanwhile standing beneath and watching her Ascension. But the space at his command not affording room for all the figures he desired to have, and he wishing also to display a new invention in that work, caused the Altar of the Chapel to represent the Tomb, and arranging the Apostles around it, he used the floor of the Chapel, at that point namely where the Altar commences, for the place whereon they rested their feet; and this method of proceeding has pleased some people, but the greater and more judicious portion of the judges it has not pleased. One wall of this Chapel still remained to be finished, and that, after he had made the Cartoons, he caused to be painted by Michele Alberti, his disciple, who was a native of Florence.

Now the Florentine Monsignore, Messer^[8] Giovanni della Casa, a most learned man, as his very graceful and erudite works, both in Latin and in the vulgar tongue, sufficiently demonstrate, began to write a Treatise on the subject of Painting,^[9] and desiring to enlighten himself as to certain minutim by reference to men of the profession, he caused Daniello to prepare the model of a David in terra, to which all possible care was given, and which was finished with the most delicate nicety; he afterwards commissioned him to paint, or rather copy, that figure of David in a picture, wherein were represented the two sides, back and front namely, in a singularly fanciful manner, but the work was a very beautiful one. This picture is now in the possession of Messer Annibale Rucellai.^[10] For the same Messer Giovanni, Daniello painted a Dead Christ, with the Maries; and in a picture on cloth to be sent into France, he represented Eneas, who being on the point of removing his vestments for the purpose of retiring to rest, is accosted by Mercury, who is supposed to be addressing to him the words found in the verses of Virgil. For the same prelate he painted another picture, also in oil, a San Giovanni in the Desert namely, as large as life; and that figure, which is one of infinite beauty, was highly prized by the Signor Cardinal to the end of his days, as was also a San Jerome, likewise by Daniello, and beautiful to a marvel. Pope Julius III. being dead, and Paul IV. being elected Supreme Pontiff, the Cardinal di Carpi sought to procure the permission of His Holiness for the completion by Daniello, of the Hall of Kings; but that Pontiff not taking any pleasure in pictures, made answer to the effect that it was much better to fortify Pome, than to spend money in painting it. He consequently caused the great gate of the Castle to be commenced, after the designs of Salustio, the son of Baldassare Peruzzi of Siena, his architect; but he likewise commanded that five statues, of four bracia and a half high, should be placed in the niches of that work, which was in travertine, and formed a sumptuous and magnificent triumphal arch, when one of these statues, representing the Angel Michael, was given to Daniello; the commissions for the remaining three having been accorded to other artists.^[11]

Meanwhile Monsignore Giovanni Riccio, Cardinal of Monte Pulciano, having resolved to construct a Chapel, in San Pietro-a -Montorio, exactly opposite to that which Pope Julius had caused to be erected there after the designs of Georgio Vasari, proposed to confide the altar-piece, the stories in fresco, and the statues in marble, to Daniello; wherefore that artist, who had now determined to abandon painting and devote himself entirely to sculpture, departed for Carrara, there to superintend the excavation of the marbles for the work in question, as well as for the Statue of San Michele. On this occasion he visited Florence, and there saw the works which Vasari was in process of executing in the Palace of Duke Cosimo, with other performances to be seen in that city, where he was received with infinite courtesy and attention by many friends, more especially by the abovenamed Vasari, to whom Buonarroti had recommended Daniello in his letters. Thus abiding in Florence, and seeing how greatly the Signor Duke delighted in the arts of design, Daniello conceived the purpose of attaching himself to the service of his Most Illustrious Excellency, and the Signor Duke having replied to those by whom he was recommended, to the effect that he might be introduced by Vasari, it was so done. Then Daniello, offering himself at that audience to the service of his Excellency, the latter replied most amicably, that he accepted him very willingly, and that so soon as he, Daniello, should have fulfilled his engagements in Rome, he might present himself anew, and should be instantly received.

For the remainder of that summer Daniello remained in Florence, where he had been lodged by Giorgio in the house of Simon Botti, the intimate friend of Vasari. It was at this time that Dllo anie cast in plaster, nearly all those marble figures, from the hand of Michelagnolo, which are in the new Sacristy of San Lorenzo; he also made a beautiful figure of Leda, for the Fleming, Michael Fugger: our artist then repaired to Carrara, whence he despatched the marbles required for his future purposes to Rome; and, that done, he returned to Florence. Now Daniello, when he had first come to Florence, had brought with him from Rome a young disciple of his, called Orazio Pianeti, an amiable and very clever youth, but this Orazio—whatever may have been the reason thereof—had no sooner arrived in Florence than he died, a circumstance which caused his master, who loved him greatly, very heavy sorrow. Having now returned to Florence, therefore, and being able to do nothing more for this poor boy, he executed a bust of him in marble, having taken an admirable portrait of his face, from a cast formed after death,^[12] and this being finished, he placed it with an epitaph in the Church of Santa Michele Bertelli, on the Piazza degli’ Antinori. In this action Daniello proved himself to be a man of rare goodness, and much more the friend of his friend, than it is usual to find people now-a-days, seeing that there are but few who value anything in friendship beyond their own convenience and profit therein.

After these things, and considering that it was now a long time since he had visited his native place of Yolterra, Daniello repaired thither, and this he did before returning to Rome. In Volterra, he was most amicably received by his kindred and friends; and being requested to leave some memorial of himself to his native city, he executed the story of the Innocents in small figures, and this picture he placed in the Church of San Piero.f Subsequently, and believing that he should never more return to Volterra, he sold what little of his paternal estate he possessed there, to his nephew Lionardo Ricciarelli, who having been with him

t This work is now in the Gallery of the Uffizj, in Florence. to Rome, and having tnere learned to work admirably well in stucco, afterwards laboured with many others in the service of Giorgio Vasari, whom this Lionardo aided in the works then executing for the Palace of the Duke.

The return of Daniello to Rome, took place at the time when Pope Paul IV., offended by the nude figures in the Last Judgment of Michelagnolo, was on the point of having that work utterly destroyed; but being assured by certain of the Cardinals, and other men of judgment, that it would be a pity to deface them, he consented to their employing Daniello, who contrived to make a sort of slight covering for the figures,^[13] finishing that work under Pope Pius IV., when he likewise altered the figures of Santa Caterina and San Biagio, the defects of which, as to the particular now in question, were more especially conspicuous.

Meanwhile, the Statues for the Cardinal of Montepulciano were commenced, as was also that of San Michele, for the Great Gate; but Daniello did not proceed with the rapidity which he could and ought to have evinced, he being one whose mind was ever vacillating between project and project. At this time, Henry the King of Prance having been killed in a tournament, and Caterina de’ Medici having become Regent of that kingdom, the Signor Ruberto Strozzi came into Italy and to Rome, where he set himself to fulfil the desire of Caterina, for some befitting monument which she proposed to have erected in memory of her husband, and to that end she had commanded Ruberto to confer with Buonarroti. Arrived in Rome, therefore, Ruberto conversed long of that matter with Michelagnolo, who, being then old, could not take such an undertaking on himself, but counselled Strozzi to give the commission to Daniello, whom he promised to aid by his advice and assistance in all things connected with the work.

This last offer being greatly prized by Strozzi, the subject was deliberated maturely, and it was finally resolved that Daniello should cast a Bronze Horse, all in one piece, though the height was to be of twenty palms, and the length about forty: on this horse was then to be placed the figure of Henry, fully armed, and also of bronze. That determined, Daniello made a small model in clay, according to the suggestions and with the advice of Michelagnolo, when the group gave great satisfaction to the Signor Ruberto, who wrote an account of the whole matter, which he sent to France. Finally, an agreement was entered into between Ruberto and Daniello, as to price, time of completion, and all other minutiae, when the master instantly set hand to the work with all his accustomed care and study. Commencing with the Horse, he made the form in clay, exactly as it was to be, refusing all other engagements, to devote himself to this alone; having formed the model, he prepared to cast it, and for a work of that importance he took care to obtain the advice of many founders, for the purpose of assuring the success of the operation.

It was at this time that Pius lY. having been called to the pontifical throne on the death of Paul, made it known to Daniello that he desired him to finish the Hall of the Kings, to which end the artist was enjoined to lay aside every other undertaking. Thereunto Daniello replying that he was then much occupied, being pledged to the Queen of France, but that he would prepare the Cartoons and cause the work to be carried forward by his disciples, and would besides take care to do his own part therein, that reply displeased the Pontiff, who began to think of committing the whole work to Salviati. Rendered jealous by the intimation of that purpose, Daniello took such measures, by means of the Cardinal del Carpi and of Michelagnolo, that the half of the Hall was at length given to him to paint, but the other half was accorded to Salviati, although Daniello made all possible efforts to obtain the whole, to the end that he might have gone about his work without competition and in tranquillity, after his usual leisurely manner of proceeding. Finally however, the question of this work was handled in such manner, that Daniello did nothing whatever, in addition to what he had accomplished long before, and that Salviati never finished the little which he had commenced, nay, even that little was destroyed for him by the malignity of others.

After four years of preparation, Daniello was at length ready, so far as he was himself concerned, to complete the casting of the Horse, but he was compelled to make a delay of several months by the fact that his stipend was not paid by Strozzi, and the metal, with other materials, were not provided in sufficient abundance. All these things were, however, finally procured, and Daniello embedded the form, which was of an immense bulk, between two founding furnaces erected in a very convenient locality which he had obtained at Monte Cavallo. For a certain time the molten mass ran well into the mould, but the weight of metal suddenly bursting the body of the horse, the material gushed forth in all directions. This misfortune caused Daniello much grief in the first instance, but eventually finding means to remedy the disaster, he recovered his self-possession; at the end of two months, therefore, he prepared to cast his work for the second time; and on this occasion, his ability prevailing against the malice of Fortune, he completed the cast of the Horse (which is a full sixth larger than the Horse of Antoninus on the Capitol) in one unblemished mass. Perfectly equal and of similar thickness throughout, this vast work did not weigh more than 20,000 pounds, which is sufi^iciently remarkable, its size considered.

But the toils and discomforts which Daniello, who was of a somewhat feeble and melancholy temperament, had endured for this work, were shortly afterwards succeeded by a fearful catarrh; this harassed him cruelly, and whereas it might have been expected that he should now be content and happy, seeing that he had overcome incalculable difficulties, and had produced so extraordinary a work, he was, on the contrary, so much depressed that it appeared certain he could never rejoice any more, however perfectly his affairs might prosper; nay, at the end of two days this affection deprived him of life, an event which took place on the 4th of April, 1566. He had nevertheless had time to prepare for his death, and having confessed very devoutly, he requested to have all the other Sacraments of the Church, proper to his circumstances, administered to him; this being done, he made his will, desiring that his body should be buried in the new Church, which had been commenced at the Baths by Pius IV. for the Carthusian Monks, commanding likewise that the Statue which he had begun for the Grreat Gate, should be placed over his grave, and giving the care of these things to the Florentine, Michele degli” Alberti, and to Feliciano di San Vito of the Campagna of Rome, to whom he left the sum of two hundred scudi for that purpose.

Both of these persons then set themselves with the most affectionate assiduity to the fulfilment of his wishes, bestowing on him the most honourable sepulture in the place, and after the manner which he had requested.^[14] To the same persons, Daniello left all his property connected with art, his moulds, models, designs, and every other his effects of that kind. They were, consequently, in a condition to offer the Ambassador of Trance the completion of the Monument aforesaid within a determined limit of time, the Horse namely, with the figure of the King to be placed upon it. And of a truth, since both these artists have long laboured under the care and discipline of Daniello, a very creditable work may reasonably be expected at their hands.^[15]

Biagio da Carigliano of Pistoja was also a disciple of Daniello, as was likewise Giovampaolo Rossetti of Volterra, who is a person of much genius and great diligence in his vocation; and having retired to Volterra some years since, he has there executed, and continues to execute, works highly deserving of praise. Marco da Siena^[16] also made considerable progress while working with Daniello; he has now gone to Naples, having chosen that city for his home, and being constantly occupied there. Another disciple of Daniello is Giulio Mazzoni of Piacenza, who commenced his studies with Vasari, when the latter was painting a picture in Tlorence for Messer Biagio Mei, which was subsequently despatched to Lucca, where it was placed in the Church of San Piero Cigoli; Mazzoni was also with Giorgio, when the latter was painting the picture of the High Altar at Monte Oliveto in Naples, with a great work in the Refectory of the same place, the Sacristy of San Giovanni Carbonaro and the doors of the Organ in the Episcopal Church, to say nothing of other works.

This Giulio, having afterwards learned to work in stucco from Daniello, and in this respect becoming the equal of his master, has decorated the whole of the inside of the Palace belonging to Cardinal Capodiferro, with his own hand, producing admirable works there, not in stucco only but in painting also, stories namely, both in oil and fresco; and these have procured him high commendations which are fully merited.^[17] The same artist has executed the bust of Francesco del Nero in marble, a portrait taken from the life, and so good a one that it does not seem possible to produce a better, from all which we may fairly hope for him the most distinguished success; nay, there can be no doubt but that he will ultimately attain to the highest point of perfection in our arts.

Daniello was a well-conducted and upright man, but so profoundly intent on his studies that he gave but little thought to the remaining circumstances of his life. He was of a melancholy disposition, and in his habits much inclined to solitude. He died at about the age of fifty-seven. I have endeavoured to procure his portrait from those before-mentioned disciples of his, who have taken it in plaster, and when I was in Rome last year they promised that I should have it; but notwithstanding the many letters and messages that I have since sent, they have neglected to forward it to me, thereby showing but little consideration for the memory of their dead master. I have nevertheless been unwilling to be entirely baffled by this ingratitude of theirs, and have therefore added that portrait of Daniello (who was a very good friend of mine) which is given above, although it does not resemble him very closely. It shall nevertheless remain as the proof that I have done my best, and as that also of the little care and regard displayed on this occasion by Michele degli Alberti and Feliciano da San Vito.

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1. Monsignore rather. Mario Maffei was a high dignitary of the church.
2. The works of Signorelli, Ghirlandajo, and some few others, which were then in Volterra, might have induced an exception to this somewhat hasty remark; to say nothing of architectural monuments.
3. These works still remain in the Chapel of the Crucifix above-named.
4. The legend has it “gate of Jerusalem,” and not of Rome; it adds that the Emperor was arrested by miracle as he was about to leave the gate, and was forced, also by miracle, to direct his steps towards Mount Calvary.
5. This description is not strictly accurate. In one of these bassi-rilievi Satyrs are weighing, not detached limbs, but the actual figures represented in the pictures above, while other Satyrs are chasing the enemies of the painter from the place. The second basso-rilievo is no longer in its place. —Bottari.
6. It signified namely that Michael Angelo beheld his very self re-produced in the pictures above, an import more likely to be “sufficiently clear” in Daniello’s day than in our own.—Ibid.
7. This figure is now in the Sculpture Gallery of the Vatican.
8. Sic.
9. The fate of this work is unknown.
10. It is not now in the Rucellai Palace, nor can the present locality of this work be ascert<iined.—Ed. Flor., 1832-8.
11. No one of these statues was ever placed in the position here indicated. —Bottari.
12. This bust is unhappily lost.
13. A service for which he obtained among the jesters of the time, the name of Il Braghettone, or the breeches-maker.
14. The statue was not on the tomb in the time of Bottari, who declares himself unable to ascertain its fate.
15. The Horse, which was not much approved, was in fact sent to Paris, but received the statue of Louis XIII., and not of Henry II.—German Edition of Vasari.
16. See Della Valle, Lettere Sanesi, vol. iii.
17. The palace here in question is on the Campo di Fiore in Rome, and is now called the Spada Palace.