BANDINEVLI, Ricci°, the son of a famous goldsmith of Florence, and one of the i best sculptors of his time, was b. at Florence in 1487. His first instructions were probably received in the workshop of his father, for in those days goldsmiths wrought from their own designs. He was afterwards a pupil of Rustici, and the friend of Leonardo da Vinci. Ile was an angry and jealous rival of Michael Angelo, whose grandeur of conception he strove to equal, and who is said to have retaliated his enmity by contempt. It must be admitted, however, that we have only prejudiced sources from which to draw our information regardino. him. Benvenuto Cellini, whose language is generally passionate and hyperbolical, is his chief accuser, although Vasari also speaks of his proud and envious disposition. Whatever may have been his moral infirmities, it is impossible to deny that as a sculptor he was in his day second only to .Michael Angelo. His feuds with his brother-artists do not appear to have injured him in the opinions of persons of distinction. He was patronized by Cosmo de' Medici, Charles V., Francis I.,
Clement VII., and other powerful friends. Clement even bestowed on him an estate. Ile died at Florence, 1559-60.
His best works are bassi-rilievi, among which are those that adorn the choir of the duoino at Florence. On the high-altar in the same building is to be seen his corpse of Christ, supported by an angel, with God the Father over it. Ilis most ambitious work is Hercules with Cacus at his feet. Iu the Medicean gallery are his copies of the group of the Laocoon—a masterly imitation of the antique, in which he boasted that he excelled even the ancients themselves. Ile also executed statues of some of his patrons; all his works exhibit power, vigor, and skillful drawing, but it is alleged, apparently with con siderable truth, that " he was too fond of the terrihle graces of composition."