r in oils, with figures of the size of
life; and on one of the two adjoining walls (namely, the sides) he
painted Christ washing the feet of the Apostles, and on the other a
servant bringing two vessels of water. The work is held in great
veneration in that place, for it is indeed a rare thing, and one that
brought him both honour and profit. A picture that he executed of a
Judith who had cut off the head of Holofernes, being a very beautiful
work, was sent to Hungary. And likewise another, in which was the
Beheading of S. John the Baptist, with a building in perspective for
which he had copied the exterior of the Chapter-house of the Pazzi,
which is in the first cloister of S. Croce, was sent as a most beautiful
work to Naples by Paolo da Terrarossa, who had given the commission for
it. For one of the Bernardi, also, Sogliani executed two other pictures,
which were placed in a chapel in the Church of the Osservanza at San
Miniato, containing two lifesize figures in oils--S. John the Baptist
and S. Anthony of Padua. But as for the panel that was to stand between
them, Giovanni Antonio, being dilatory by nature and leisurely over his
work, lingered over it so long that he who had given the commission
died: wherefore that panel, which was to contain a Christ lying dead in
the lap of His Mother, remained unfinished.

[Illustration: THE LEGEND OF S. DOMINIC

(_After the fresco by =Giovanni Antonio Sogliani=. Florence: S. Marco_)

_Anderson_]

After these things, when Perino del Vaga, having departed from Genoa on
account of his resentment against Prince Doria, was working at Pisa,
where the sculptor Stagio da Pietrasanta had begun the execution of the
new chapels in marble at the end of the nave of the Duomo, together with
that space behind the high-altar, which serves as a sacristy, it was
ordained that the said Perino, as will be related in his Life, with
other masters, should begin to fill up those adornments of marble with
pictures. But Perino being recalled to Genoa, Giovanni Antonio was
commissioned to set his hand to the pictures that were to adorn the
aforesaid recess behind the high-altar, and to deal in his works with
the sacrifices of the Old Testament, as symbols of the Sacrifice of the
Most Holy Sacrament, which was there over the centre of the high-altar.
Sogliani, then, painted in the first picture the sacrifice that Noah and
his sons offered when they had gone forth from the Ark, and afterwards
those of