ient measure;
and there is to appear soon a work that he has composed on the subject
of geometry.

A disciple of Francesco, also, was one Domenico Romano, who was of great
assistance to him in the hall that he painted in Florence, and in other
works. Domenico engaged himself in the year 1550 to Signor Giuliano
Cesarino, and he does not work on his own account.

DANIELLO RICCIARELLI

LIFE OF DANIELLO RICCIARELLI

PAINTER AND SCULPTOR OF VOLTERRA

Daniello, when he was a lad, learned to draw a little from Giovanni
Antonio Sodoma, who went at that time to execute certain works in the
city of Volterra; and when Sodoma had gone away he made much greater and
better proficience under Baldassarre Peruzzi than he had done under the
discipline of the other. But to tell the truth, for all that, he
achieved no great success at that time, for the reason that in
proportion as he devoted great effort and study to seeking to learn,
being urged by a strong desire, even so, on the other hand, did his
brain and hand fail him. Wherefore in his first works, which he executed
at Volterra, there is evidence of very great, nay, infinite labour, but
not yet any promise of a grand or beautiful manner, nor any grace,
charm, or invention, such as have been seen at an early hour in many
others who have been born to be painters, and who, even in their first
beginnings, have shown facility, boldness, and some indication of a good
manner. His first works, indeed, seem in truth as if done by a
melancholic, being full of effort and executed with much patience and
expenditure of time.

But let us come to his works, leaving aside those that are not worthy of
attention; in his youth he painted in fresco at Volterra the facade of
M. Mario Maffei, in chiaroscuro, which gave him a good name and won him
much credit. But after he had finished it, perceiving that he had there
no competition that might spur him to seek to rise to greater heights,
and that there were no works in that city, either ancient or modern,
from which he could learn much, he determined at all costs to go to
Rome, where he heard that there were not at that time many who were
engaged in painting, excepting Perino del Vaga. Before departing, he
resolved that he would take some finished work that might make him
known; and so, having painted a canvas in oils of Christ Scourged at the
Column, with many figures, to which he devoted all possible diligence,
availing himself of