Page:Biographical catalogue of the principal Italian painters.djvu/176

 RICCI— RICCIARELU. 146 be mistaken for those of the master : Caznillo has less freedom of execution, bat greater harmony of colour than Scarsellino. The churches of Ferrara contain many pictures by Camillo Bicci; in the church of San Niccolo, he represented the Life and Miracles of the Bishop of that name, in eighty- four compartments. (Barvffaldi.) RICCI, Gio. Batista, called No- VABESE, b. 1545, d. at Bome, 1620. Boman School. He was the scholar of Lanini, and was employed at Bome by Sixtus V. and Clement VIII., in the library of the Vatican, and in the church and palace of St. John Lateran. In the church of the Lateran he re- presented the Consecration of that Basilica by San Silvestro, his principal work. In the nave of Santa Maria Maggiore, he painted the Visitation, the Ascension,, and the Assumption of the Vii^n, in fresco. He was a man- nered imitator of Baphael, and his works belong to the material and merely ornamental school of the close of the sixteenth century. {Baglione,) RICCI, or BIZZI, Sebastiano, 6. at Cividale di Belluno, 1659-60, d,. at Venice, May 15,1734. Venetian School. A scholar of Federigo Cervelli at Venice. He studied also the works of the great masters at Florence, Modena, and Parma; he was employed in Germany, and he visited England in the reign of Queen Anne, and resided ten years in this country, where he de- corated several of the houses of the nobility. His imitations of the works of the great masters, especially those of Paolo Veronese, were very success- ful ; and he also unscrupulously adopted the groups and ideas of others in his own compositions. He possessed great facility of execution, was gay in colour, and graceful in the character of his forms, but his design is frequently in- correct, and his productions are gene- rally superficial, feeble, and mannered: they are extremely numerous ; he was one of the most successful painters of his age. His nephew, Marco (1679-1729), who was with him in this country, was a good landscape and architectural painter. Works. Venice, SS. Cosmo e Da- miano, alia Giudecca, Solomon; Moses striking the Bock (in which he was assisted by Marco Bicci); and the Triumph of the Ark. Padua, Sta. Giustina, the Apostles adoring the Sacrament, in fresco. Bergamo, church of Sant' Alessandro, St. Gregory. Dres- den Gallery, Ascension of Christ* Louvre, an allegorical subject; Christ giving the keys of Paradise to St. Peter; and two other pictures. Hamp- ton Court, several pictures. (Zanettu) BICCIABELLI, Daniele, called Daniele da Voltebra, b. at Volterra in 1509, d. at Borne, April 4, 1566. Tus- can School. He was first a scholar of Gio. Antonio Bazzi, and afterwards of Baldassare Peruzzi. He subsequently went to Bome, where he studied under Perino del Vaga; and also worked under the direction and from the de- signs of Michelangelo, and he proved himself to be one of the ablest scholars of that master. His master-piece is still in the Trinita de' Monti at Bome; though destroyed by the French in en- deavouring to remove it, it was re- stored by Palmaroli. It represents the Descent from the Cross, and is re- markably similar in character of com- position to the celebrated picture of the same subject by Bubens at Antwerp: the Flemish oil-pictiu'e is little more than a variation of the Boman fresco. It is full in composition, and is a grand impassioned representation, with a powerful dramatic action, and a pic- turesque treatment; Michelangelo is sajd to have assisted Daniele in this work. The powers of Daniele, accord- ing to Vasari, were, to his credit,, rather L