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her cloak, whilst his own mantle is raised by angels. On the foreground, the group of saints and the prostrate Adam disclose a judicious clinging to nature, correct out lines of limb and extremity, fair movement, but square shapes, with a scruple of Fra Bartolommeo’s grandeur in air and drapery. The mask of the Eternal is reminiscent of Mariotto, and traces of Credi are in the puffy contours of the angels. In colouring this subject Sogliani strives also to master the methods of the Frate and of Albertinelli, combining them with the excessive smoothness of Lorenzo, his teacher, and a misty vapour known only by the Italian word sfimato. 1 At S. Jacopo sopra Arno, a Trinity, with three saints, illustrates the same phase in Sogliani, though raw and feebly done at one painting. 2 But the best example of it is the sacrifice of Noah, in the choir of the Pisa Duomo, in which the males have a bold masculine strength, and the females compensate for vulgarity by feeling. 3 Two figures of Cain and Abel in this cathedral, and a Virgin, under a conical dais with numerous saints, are of a later date. 4 The last indeed had been commenced by Perino del Vaga, and presents for that reason per haps an unusual slenderness in the forms, and a com position akin to those of Rosso, but the system on which the whole is coloured is true to the maxims handed down through Fra Bartolommeo and Mariotto from da Vinci; 1 The ehureli is in Via S. Gallo at Florence. The picture on wood, in oil, with life size figures. The Virgin is paltry in shape, as are some of the lower saints. There is atmosphere in the sky, and harmony in the parts. The flesh shadows tend to green. 2 S. Jacopo sopr’Arno at Flo rence. Sacristy. Wood, arched at top, oil, split vertically in two places. Above, the Eternal holds the Saviour on the cross. Below, S. James, the Magdalen, and S. Catherine. Figures life size. 3 The colour of this panel (oil, life size) is injured, i. e. blackened by time, retouched, and has in part scaled. 4 Cain advances with an offer ing of corn. Abel kneels holding up a lamb. Both figures are of the size of nature, on panel (oil), the co lour low and brown, and blacken ed in the shadows.