Felice Riccio, otherwise Brusasorci the younger, and the son of Domenico, became an orphan before he had completed his studies with his father, which he continued under the care of Ligozzi, at Florence. On returning thence to Verona, he introduced a style very different to the manner of his father. It is extremely elegant and refined, as displayed in his Madonnas, with boys and beautiful cherubs, adorning various collections; and with features something resembling those of Paul Veronese, if not a little more spare. Nor is he deficient in strength where his subject requires it, as I remarked in a picture belonging to the Conti Gazzola, representing the forge of Vulcan, with Cyclops, designed in good Florentine taste, and powerfully coloured. Many of Felice's works are interspersed through the churches of Verona, among which his Santa Elena, belonging to the church of that name, is extremely beautiful. He did not exercise his talents, like his father, in fresco, nor had he equal genius; though he produced pieces on a large scale, the extreme of which was the Fall of Manna, painted for the church of S. Giorgio, a picture both vast and well conceived, and which received its last touches from Ottini and Orbetto, two of his best disciples, whose names I reserve to another epoch. Several little pictures, likewise, both on sacred and other subjects, executed on stone or marble, which he coloured with great skill, availing himself for his shades of the marble itself, are attributed to his hand. Even his portraits are in high esteem; though nearly equalled by those of his sister Cecilia, who acquired skill in the art from her father. Gio. Batista Brusasorci, brother of the preceding artists, and a scholar of Paul Veronese, presented Verona with several highly esteemed pictures; but passing into Germany he became painter to the emperor, in whose service he died.