Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 4.djvu/168

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160
lives of the artists.

Monte above-named. In this work Niccolo did not acquit himself very well, and perceiving, from the effect produced on certain figures, both nude and clothed, which form the ornaments of that shield, that the study of lifeless models is injurious to him who desires to obtain a good manner, he determined to labour for the remedy of that defect. When, therefore, the fresco was uncovered, and, being given to public view, was found not to exhibit the excellence which many had expected, Niccolo set himself to paint a picture in oil. The subject of this work was the martyr Santa Prassedia, pressing blood from a sponge into a vase; and this he executed with so much care, as in part to recover the honour, which it appeared to him that he had lost by the abovementioned escutcheon of arms. The picture was painted by commission from the Cardinal di Monte before-named, who was Titular of Santa Prassedia, and by whose command it was placed over an altar in the midst of that church, beneath which is a well filled with the blood of the Holy Martyrs;[1] and this site was chosen with much judgment, since the picture alludes to the place where the blood of those martyrs was shed.[2]

When this work was completed, Niccolo painted another picture, about three quarters of a braccio high, for the same Cardinal, his patron; a Madonna that is to say, with the Divine Child in her arms, and the figure of San. Giovanni, also a child; he added a landscape so well and carefully executed, and the whole work is indeed so delicately finished, that it has the appearance of being in miniature. This picture, which was one of the best works ever produced by Niccolo Soggi, was for many years retained in the apartment of that prelate, but at a later period the Cardinal arriving in Arezzo, and being entertained in the Abbey of Santa Fiore, a place which belongs to the Black Friars of San Benedetto, presented the picture to the Sacristy of that monastery, in acknowledgment of the many courtesies which he had received from the brethren thereof. Here it has ever since been preserved with much care for its

  1. The fate of this picture is not known.— Bottari, Roman Edition of Vasari, 1759.
  2. See Mrs. Jameson. Sacred and Legendary Art, vol. ii. p. 243, et seq.