Page:Biographical catalogue of the principal Italian painters.djvu/177

 146 RICCIARELLI—RIDOLn. the resiilt of unwearied stndy and ap- plication, than of any great natural facility. Hia execntion was slow and lahoured; some of his works are cold and artificial, and without that warmth and energy which alone can satisfy and impress the spectator. The picture on slate, showing a hack and front view, of David and Goliath, in the Louvre, is dry and hard, but it displays a masterly power of representation and fore- ahortening, and it was long ascribed to Michelangelo : it had been presented to Louis XIV., as a work of that great painter, by the Spanish Ambassador. Daniele decorated the walls of some of the Boman palaces : the subjects from the history of Judith, in chiaroscuro, on the fa^e of the Massimi Palace are ascribed to him. After the death of Perino del Vaga, Daniele was em- ployed to finish the decorations of the Sala Begia, begun by that painter. Some of the nude figures in Michel- angelo's Last Judgment were covered by him with slight draperies, which saved that great work from the white- wash destined for it by Paul lY., and obtained for Daniele the nick-name of '* Braghettone." This able painter de^ voted himself chiefly to sculpture dur- ing the latter part of his life. Works, Bome, Trinita de' Monti, the Descent from the Cross: San Pietro in Montorio, the Baptism of Christ: San Marcello, frescoes. Flor- ence, Uffi^, the Massacre of the Innocents. Dresden Gallery, Holy Family. Louvre, David killing Goliath. England, Castle Howard, Entombment of Christ ( Vasari.) BICCIO, Samese, II, or Maestbo Biccio, the common appellation of Bartolomeo Neroni. He painted about 1550-1573. Sienese School. He was the son-in-law, pupil, and assistant of Gio. Antonio Bazzi, and painted his- torical subjects, perspective and archi- tectural views. According to Lanzi, his Descent from the Cross in the church of the Derelitte at Siena, dis- plays much affinity with the works of Bazzi; on the other hand two large pictures by Biccio, in the Sienese Academy, show the influence of the Florentine School: he followed the taste of Federigo Zucchero, and of Vasari. In the Berlin Galleiy is a Madonnii and Child, with Saints, by this painter. He was also an archi- tect BICCIO, DoKENico, called Ii. Bbu- 8A80SCI (from his father, who invented a rat-trap), h. at Verona, 1494, d. 1567. Venetian School. He was the scholar of Giolfino, and studied also the works of Giorgione and Titian; he painted historical subjects, and decorated villas and palaces with frescoes. Biccio's picture of St. Mark, in the chorch of the Padri Agostiniani at Verona, bears a great resemblance to the works of Titian ; his execution is generally of a strong Venetian character, and he was called the Titian of Verona. His prin- cipal works in his native place are the frescoes of the Palazzo de' Morari, a mythological series ; and the celebrated Cavalcade of Clement VII. and Charies v., in the Palazzo Bidolfi. He painted also in the ducal palace at Mantua. His oil pictures generally belong rather to the mythological, than the sacred province of art Felice Biccio, Domenico's son (6. 1540, d, 1605), called also Bmsasord, studied at Florence under Jaoopo Ligozzi, and adopted a dififerent style from his father, more delicate, but with less power. Lanzi commends bis elegant design, and the graceful air of his heads : he was an excellent portrait- painter. Domenico had another son, Giambattista, and a daughter, Cecilia, who likewise distinguished themsdves in the art {Ridolfi, Dai Pozzo,) BIDOLFI, Cav, Cablo, ». at Tv cenza, 1594^ d, at Venice 1658. Vene-