of our Lord, and is in no wise inferior to the work of Lorenzo himself.
After Sogliani had at length separated himself from his master, he painted a picture in oil for the Guild of the Vintners; this work represents San Martino in his episcopal robes; it w^as painted for the church of San Michele-inOrto, and the artist obtained for it the reputation of being a very good master. Giovan Antonio held the works and the manner of Fra Bartolommeo di San Marco in the highest veneration; he therefore earnestly sought to approach that master in the manner of his colouring. In a picture which Sogliani sketched, but did not finish, because it failed to satisfy him, we have proof that he did indeed take great pains to imitate Fra Bartolommeo. This picture Giovan Antonio kept in his house while he lived, as considering it useless; but after his death it was sold as old merchandise to Sinibaldo Gaddi, who caused it to be finished by Santi Titi del Borgo, who was then but a youth; and that being done, Sinibaldo then placed it in a chapel which he had in the church of San Domenico, at Fiesole.[1] In this work are seen the Magi adoring the Infant Christ, who is in the lap of the Virgin Mother; and in one corner of the picture is the portrait of Sogliani himself, a tolerably exact resemblance.
He afterwards painted a picture for Madonna Alfonsina, wife of Piero de’ Medici, which was placed, in fulfilment of a vow, on the altar of the chapel of the Martyrs, in the church of the Camaldoli, at Florence. The subject of this painting is the Crucifixion of Sant’ Arcadio, who is seen on his cross, with other martyrs, who bear their crosses in their arms. Two of these figures are partially draped, the others are nude, and are kneeling on the earth, still bearing their crosses; in the heavens above are angels in the form of little children, holding palms in their hands. This picture, which was executed with infinite care, gives evidence of much judgment in the colouring, the heads also, which are full of animation, evince considerable ability. It was fixed in the abovenamed church of Camaldoli, but at the siege of Florence, that monastery being taken from those Eremite fathers, who had worthily celebrated the divine offices in its church, and being afterwards given to the nuns of San Giovanni, who belong
- ↑ Where it still remains.
