upon encrusted the frieze beneath the vault of the cupola and the frames around the windows with black and white marble. He likewise placed the marble columns in the angles, and to these, Baccio D’Agnolo afterwards added the architrave, frieze, and cornice, as will be related hereafter. It is true that Giuliano designed to erect- a different kind of frieze, cornice, and gallery, with a pediment on each of the eight sides of the cupola, as appears from certain designs by his hand, which are preserved in our book; but, pressed by the various labours which occupied him from day to day, he had not time to carry this purpose into effect, and died before it could be executed.
Before this occurred, however, Giuliano had proceeded to Naples, Avhere he constructed the magnificent palace of the Poggio Reale[1] for king Alfonso, Avith the beautiful fountains and fine aqueducts which are in the court. In the city itself, likewise, Giuliano designed many splendid fountains, some of Avhich were constructed on the public squares, and others in private houses, but all are of beautiful and fanciful invention. The palace of Poggio Beale Avas extensively decorated under his care with paintings by Piero del Donzello, and Polito his brother;[2] and for the same king Alfonso, who was then Duke of Calabria, Giuliano da Maiano executed works in sculpture; among Avhich were stories in bassorilievo for a door in the great hall of the castle of Naples, which was richly adorned by him, both Avithin and Avithout. Giuliano likewise constructed the gate of the castle; this was of marble in the Corinthian order, with an immense number of figures, and to this work he gave the form of a triumphal arch, whereon are represented certain Auctories gained by that king, with other events of his life, all sculptured in marble.[3] The decorations of the Capuan
- ↑ Of the palace of Poggio Beale but few traces now remain: the fountains and aqueducts are also destroyed.—Masselli.
- ↑ For a short notice of these brothers, Pietro and Pdlito (Ippolito) del Donzello, see Lanzi, History of Painting, vol. ii. p. 13, who calls them the relations of Giuliano da Maiano. See further, Dominici, Vite de Pittori Napolitani.
- ↑ Here also Vasari is in error, this arch of triumph having been constructed in 1443, to celebrate the triumphal entry of Alfonso I. into the city. Dominici attributes it to Pietro di Martino of Milan, and the later Florentine editors agree with him in that opinion.
