THE FLORENTINE PAINTER, GIOVANNI ANTONIO SOGLIANI.
[born 1492—died 1544.]
It may often be remarked, both in the sciences and' in the more exalted and -ingenious of the manual arts, that those men who are of a melancholy temperament, are more assiduous in their studies, and support the tedium of their labours with greater patience, than do those of a more lively disposition, wherefore it most commonly happens that the first-mentioned are found to become distinguished above their fellows and usually render themselves most excellent in their vocation.
An instance of this was seen in the Florentine painter, Giovanni Antonio Sogliano, who was so cold of aspect, and of so dejected a countenance, that he seemed to be Melancholy itself. So great an influence had this affection over him, that he gave few thoughts to any subject beyond the domain of art, with the exception of the cares which he took for his family; and to these he devoted his attention with anxious solicitude, although possessed of all that ho required for the convenience of life. Sogliano practised the art of painting with Lorenzo di Credi during four and twenty years, dwelling with his master, ever rendering him the utmost honour, and careful to serve him constantly in every manner and on all occasions. Having in that time made himself a very good painter, Giovan Antonio afterwards proved himself a most faithful disciple of Lorenzo, and was the close imitator of the latter in all his works. An example of what is here said may be seen in his first pictures, which are in the chapel of the Osservanza, situate on the height of San Miniato, outside the city of Florence, where he painted a copy of that which his master had executed for the Nuns of Santa Chiara.[1] This represents the Nativity
- ↑ See ante, pp. 146, 147, note *. “It may be,” suggests a German annotator, “that this copy is the very picture nov so justly admired in the gallery of Berlin.”
indignant at the groundless accusation of partiality sometimes brought against our author,—he who writes thus, can he be the envious and jealous enemy of the painters of the Venetian School!”
