Chap. XV. SOGLIANI. 517 Milan. Bi-era. No. 55. Signed: “Sigismundus Fuscus Faentinus faciebat 1527.” In this the imitation of Fra Bartolommeo is still more clear. A glory of angels in the arching is a broad caricature of the Frate, such as Bacchiacca might have done. The composition is like that of the Frate’s Madonna at S. Marco. The outlines are mannered, the nude exaggerated in the Michaelangelesque direction; the colour dull and of thin texture, with an excessive use of bitu men. The following is another example of the same kind by Fosehi. Faenza. Academy. Virgin and child between the erect SS. Paul, John the Baptist, Benedict, and Sebastian, and the kneeling SS. Catherine and Appollonia. Here is a still stronger sfumato, and less truth and vigour than before in style and drapery. Florence. S. Giovanni Battista. Contiguous to the Spedale di S. Boni/'azio. S. Brigitta, on a pedestal, between several nuns and friars, in prayer, looks up to a vision of the Virgin and child, and issues the rules of an order. At her feet is a crown, and on the pedestal the words: “Orate pro pictore”. 1522 (wood, oil, figures life size). The composition is in Fra Bartolommeo’s fashion, and some of the figures are carried out with elegance and feeling; but the colour is fluid and laid on at one painting with copious vehicle. The names of Fra Bartolommeo and Mariotto which first come into consideration, become doubtful in respect of the execution which is more according to the habits of Sogliani. Yet it is almost too good for him, and something Bolognese in its appearance might point to Innocenzo da Imola, and confirm Vasari’s assertion that he studied under Mariotto. In the same place is the Annunciation assigned by Vasari to Soggi, but more like a Sogliani, as we have already noted in this volume, antea, p. 48. •