years persuade himself that others surpassed him in excellence. In this work, then, we have a figure of the Almighty Father, sending the crown of chastity and humility to the Madonna by the hands of angels, who surround the Virgin, some of them playing various instruments.[1] In this picture Niccolò depicted the portrait of Messer Baldo kneeling at the feet of the Bishop, Sant’ Ubaldo, and on the other side he painted a figure of San Giuseppe. These two figures are placed one on each hand of the Madonna, which has worked miracles in that place. At a later period, Niccolò painted the portrait of Messer Baldo Magini from the life, in a picture three braccia high; he stands upright, having in his hand the church of San Fabriano, which is in Prato, and was bestowed by himself on the Canonicate belonging to the Chapter of the Deanery: the portrait was indeed depicted for that Chapter, which caused it to be placed in the Sacristy,[2]
as a mark of gratitude to Messer Baldo, and of acknowledgment for the benefit received at his hands: and this was a distinction well merited by that certainly remarkable man, who with admirable judgment, conferred great favours on that the principal church of his native place, one so much renowned too, on account of the Girdle of Our Lady, which is preserved therein. This portrait was one of the best paintings ever executed by Niccolò Soggi.
There is a small picture in the possession of the Brotherhood of San Pier Martire which has its seat on the Piazza of San Domenico in Prato, and which is also believed by many to be by Niccolò Soggi, in which there are many portraits from the life, but in my opinion this work was executed, if indeed it be by Niccolò, before any of those which have been mentioned above.[3]
- ↑ In 1774, when the Ristretto delle Memorie della Citta di Prato, &c, was published, this picture had been removed to the work-rooms of the building, where it then was, but it is not now to be found there, nor can its ultimate fate be ascertained.
- ↑ Still in the Sacristy of the Cathedral, which was then called the Deanery, Prato not having at that time attained the rank of a city.
- ↑ From the learned and courteous Signor Ferdinando Baldanzi of Prato, we (Florentine Editors) learn that the subject of this work which is still in the choir of the Church of the Capuchins at Prato, is the Virgin and Child, with figures of St. Peter the Martyr and St. Jerome, kneeling beside her; these being the only figures of which it is possible to suppose that they were taken from the life.
