and in a short time the continual study of Niccolo enabled him to acquire so much facility, that Pietro was early enabled to avail himself of his assistance for the undertakings which he had in hand, and this he did to the no small advantage of Niccold, who so zealously devoted himself to the studies of perspective and to drawing from nature, that he ultimately rendered himself truly excellent in both- Niccolb likewise gave much attention to the preparation of models in clay and wax, over which he afterwards laid parchment, softened by steeping, and covered the whole with draperies; but this practice had the effect of imparting a certain dryness to his manner, insomuch that while he lived, he constantly held to the same, nor could he ever divest himself thereof, notwithstanding all the pains which he took for that purpose.
The first work performed by Xiccolb after the death of his master Pietro, was a picture in oil, which was destined to adorn the back of an altar in the Plospital for Women, founded by Bonifazio Lupi, in the Via Sangallo, at Florence. The subject chosen was an Annunciation, and there is a building in this picture drawn in perspective, and exhibiting arches and a groined ceiling rising above the columns, after the manner of Pietro Perugino.[1]
In theyear 1512, and after having painted numerous pictures of the Virgin for the houses of the citizens,[2] with other works of minor importance, such as are in daily request, Niccolo Soggi heard that great things were in process of accomplishment in Rome, wherefore, desiring much to improve in his art, and thinking also that he might obtain the means of laying aside some money by his project, he departed from Florence, and repaired at once to Rome. Here he proceeded to visit Messer Antonio di Monte, who had then become a Cardinal, and by whom he was not only amicably received, but instantly set to work. The time was the commencement of the pontificate of Leo X.; and the commission thus received was a large Escutcheon of the arms of that Pope, to be painted in fresco on the façade of the palace (where is the statue of Maestro Pasquino), and to be placed between the arms of the Roman People, and those of the Cardinal Messer Antonio di
