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512 THE FIFTEENTH CENTURY. Ciiap. XV. things, and the Bath of Queen Bathsheba and her nymphs, with the Royal Feast at the Dresden Museum which he finished in 1523, secures respectful if not unconditional admiration. We may object to the short stature and puffiness of the females, yet praise the vigour and lucid ity of the colour, the freedom of the touch, the beauty of the composition, and the natural force and truth of the movements. We observe, as before, a style inge niously formed on the models of Fra Bartolommeo and Andrea del Sarto. 1 The death of Francia Bigio took place at Florence on the 14 lh of January 1525 (n. s.), 2 The catalogue of works unnoticed in the foregoing text will be short: i Florence. l/ffizi. No. 1223. Temple of Hercules. Part of a “Cassone”. Wood, oil. Of Francia Bigio’s late period, broad, ani mated, and quickly done, of a strong brownish tone. Some figures taken apparently from Diirer. Florence. Casa Ciacchi. Noli me tangere. Genuine. Vasari IX. p. 103. Berlin. Museum. No. 105. Marriage of the Virgin. Piece of a predella, gaudy and slight, and below Francia Bigio. S. Petersburg. Hermitage. -No. 27. Half length portrait of a man. Fine. Not by Francia Bigio, but difficult to class. The handling and colour are reminiscent of Bronzino, but also of An tonio Moro. It seems appropriate to close the list of men who assumed the manner of Fra Bartolommeo and Mariotto, with Giovanni Antonio Sogliani, who first learnt the elements from Credi and then sought to gain the qua lities which he did not find in his own master, by look- 1 Dresden Museum. No. 41. The monogram is on the jug carried by a female, on the right, in the bath. The date A. S. MDXXIII, on the side of the bath itself. In the background a shield quartering the arms of the Medici. Wood, oil, preservation good, figures small. 2 Tav. alfab.