Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/219

measure of his powers. In 1514 he went for the second time to Rome, and in the course of a year's residence painted the renowned frescos in the upper story of the Farnesina, the Marriage of Alexander the Great and Roxana, and the Surrender of Darius and his Family to Alexander, the first of which is one of the most admirable works of Renaissance art. Though abounding in beauty of form, countenance, and colour, it fails, like all Bazzi's historical works, in that instinctive arrangement of many details into one great whole which constitutes fine composition. It is in his single figures, the St. Sebastian, of the Uffizi, and the Christ bound to the Column, of the Siena Academy, that this master attains the highest excellence. The frescos of the Life of St. Catherine (1526) in her chapel in S. Domenico, Siena, show this; for while those which contain many figures are wanting in clearness, such groups as that of the Saint in ecstasy, supported by two women, are among the most expressive and beautiful works of their kind in Italy. His superiority in single figures is again illustrated in the frescos of the Oratory of S. Bernardino, Siena, by a comparison of the four Saints with the compositions representing the Presentation, Visitation, Assumption, and Coronation of the Virgin (1518-32). See, too, the Saints Ansano, Vittorio, and Bernardo in the Hall of the Council, Palazzo Pubblico, Siena, where there is also a fine altarpiece by Bazzi of the Madonna with St. Leonardo. Other works: Madonna de' Calzolari (1530), Siena; SS. James, Anthony, and Sebastian (1530), the Madonna investing a Bishop, with SS. Rosalia and Lucia, S. Spirito, Florence; Ecce Homo, Christ on the Mount of Olives, Christ in Limbo, frescos, Siena Academy; Altarpiece of Madonna with Saints, at Asinalunga; Madonna Enthroned, National Gallery, London; Adoration of the Magi, S. Agostino, Siena; Resurrection, Naples Museum; Sacrifice of Abraham, Duomo, Pisa; Madonna with Saints, Pisa Academy; Madonna with Saints, Florence Academy; St. Sebastian, Uffizi, Florence; Marriage of St. Catherine, Palazzo Chigi, Rome; Madonna with Saints, Lucretia, Turin Museum; Ecce Homo, Pitti, Florence.—Vasari, ed. Mil., vi. 379, 401; Meyer, Künst. Lex., iii. 178; Jansen, Leben und Werke des Malers Gio. Bazzi (Stuttgart, 1879); Burckhardt, 173, 686; Lanzi, i. 293; Ch. Blanc, École milanaise; Gaz. des B. Arts (1878), xvii. 18, 97, et seq.; Lübke, Gesch. ital. Mal., ii. 397; Zeitschr. f. B. K., ix. 33; x. 230.

SOGGI, NICCOLÒ, born in Arezzo in 1480, died there in 1551. Florentine school. Was taken at an early age to Florence, where he studied under Perugino. In 1512 he went to Rome under the patronage of Cardinal di Monte; accompanied him to Arezzo and painted much there for churches and companies of the town. Work but little superior to that of Domenico Pecori, whom he sometimes aided. Pictures in S. Domenico, S. Michele, S. Agostino, and the Duomo, Arezzo.—C. & C., Italy, iii. 44; Vasari, ed. Le Mon., x. 209.

SOGLIANI, GIOVANNI ANTONIO, born in Florence in 1492, died there, July 17, 1544. Florentine school; pupil of Lorenzo di Credi, with whom he worked twenty-four years; registered in guild of Florence in 1522. His later works show the influence of Fra Bartolommeo, Andrea del Sarto, and Mariotto Albertinelli. Few of his pictures have dates, except the Martyrdom of St. Arcadius (1521), in S. Lorenzo, and a Miracle of St. Dominic (fresco, 1536), in S. Marco, Florence. The Nativity, Berlin Museum, is a copy of Credi's in the Florence Academy.—C. & C., Italy, iii. 512; Vasari, ed. Le Mon., ix. 42; ed. Mil., v. 123; Burckhardt, 638, 682; Siret, 875; Lübke, Gesch. ital. Mal., ii. 178.

SOHN, KARL (FERDINAND), born in Berlin, Dec. 10, 1805, died in Cologne, Nov. 25, 1867. History and portrait painter, pupil of Berlin Academy under Schadow, with