stands marvelling at them and full of compassion for his untimely
death.

FOOTNOTE:

[31] Don Bartolommeo della Gatta, Abbot of S. Clemente.

NICCOLO SOGGI

LIFE OF NICCOLO SOGGI

PAINTER

Among the many who were disciples of Pietro Perugino, there was not one,
after Raffaello da Urbino, who was more studious or more diligent than
Niccolo Soggi, whose Life we are now about to write. This master was
born in Florence, the son of Jacopo Soggi, a worthy person, but not very
rich; and in time he entered the service of M. Antonio dal Monte in
Rome, because Jacopo had a farm at Marciano in Valdichiana, and, passing
most of his time there, associated not a little with that same M.
Antonio dal Monte, their properties being near together.

Jacopo, then, perceiving that this son of his was much inclined to
painting, placed him with Pietro Perugino; and in a short time, by means
of continual study, he learned so much that it was not long before
Pietro began to make use of him in his works, to the great advantage of
Niccolo, who devoted himself in such a manner to drawing in perspective
and copying from nature, that he afterwards became very excellent in
both the one field and the other. Niccolo also gave much attention to
making models of clay and wax, over which he laid draperies and soaked
parchment: which was the reason that he rendered his manner so dry, that
he always held to the same as long as he lived, nor could he ever get
rid of it for all the pains that he took.

The first work that this Niccolo executed after the death of his master
Pietro was an altar-piece in oils in the Hospital for Women, founded by
Bonifazio Lupi, in the Via San Gallo at Florence--that is, the side
behind the altar, wherein is the Angel saluting Our Lady, with a
building drawn in perspective, in which there are arches and a groined
vaulting rising above pilasters after the manner of Pietro. Then, in the
year 1512, after having executed many pictures of Our Lady for the
houses of citizens, and other little works such as are painted every
day, hearing that great things were being done in Rome, he departed from
Florence, thinking to make proficience in art and also to save some
money, and went off to Rome. There, having paid a visit to the aforesaid
M. Antonio dal Monte, who was then a Cardinal, he was not only welcomed
warmly, but also straightway set to work to paint, in those early days
of the pontificate of Leo, on the faca