Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

The face of Cain is altogether the contrary, it is indeed the countenance of a truly bad man. And now had Sogliani continued the work with spirit and promptitude, the Superintendent of works to the Cathedral, from whom he had received the commission, and who was pleased with his manner of painting, as well as with the excellence of his character, would doubtless have suffered him to complete all the works required for the cathedral. But Giovan Antonio relaxed in his attention, and therefore did not at that time execute more than one picture, in addition to those above described.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

THE FLORENTINE PAINTER, GIOVANNI ANTONIO SOGLIANI.
[born 1492—died 1544.]
It may often be remarked, both in the sciences and' in the more exalted and -ingenious of the manual arts, that those men who are of a melancholy temperament, are more assiduous in their studies, and support the tedium of their labours with greater patience, than do those of a more lively disposition, wherefore it most commonly happens that the first-mentioned are found to become distinguished above their fellows and usually render themselves most excellent in their vocation.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Many other works were executed by Giovan Antonio Sogliani, in Florence, some of which are dispersed among the houses of the citizens, while others have been sent into foreign parts, but of these I need make no further mention, seeing that we have already enumerated the principal. Sogliani was a most upright and exceedingly religious man, always occupied with his own affairs, and being ever careful to offer no molestation to any of his brethren in art. One of his disciples was Sandrino del Calzolaio, who painted the Tabernacle which is fixed at the corner of the Murate.
Source: Wikisource

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