the Ionic Capital, which has just appeared in copper-plate, is by his hand.[1] In this we are shown how this member should be turned after the antique measure, and there is very shortly to be published a work by this same Giuseppe, which he has composed on the subject of Greometry.[2] A Roman, named Domenico, was also a disciple of Francesco Salviati, and was of much assistance to his master in the Hall which the latter painted at Florence, as well as for other works. In the year 1550, this Domenico engaged himself to the Signor Giuliano Cesarino, and has not hitherto worked on his own account.
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
- ↑ The rules for the Ionic column were first published by Marcolini, in fol. Venice, 1552. They were then translated into Latin by Poleni, and were inserted in his Esercitazione Vetruviane. —Bottari.
- ↑ This work the author is said to have burnt, not having time to complete it, and not choosing to leave it in an imperfect state.—Ibid.
