Arrived in the last-named city, Giovan-Antonio found that among all the many works he saw there, those of the masters who pleased him more than all besides, among the numerous artists who had laboured in that place, were Andrea del Sarto and Jacopo da Pontormo. He resolved to attach himself to one of the two, therefore; and while he was hesitating as to which of them he should select, the figures of Faith and Charity, executed by Pontormo over the portico of the Nunziata in Florence, were uncovered and given to public view;[1] this fully determined him to fix himself with Pontormo, whose manner appeared to him so beautiful that, as Pontormo was still young, Giovan-Antonio concluded that he would certainly surpass all the rising painters of his day, as was indeed, at that time, the firm conviction of every one.
Lappoli therefore, although he might have gone to study with Andrea, placed himself with Pontormo instead, and labouring with him, was impelled by a twofold incentive to almost incredible exertion. One of these was the advice of Giovan Maria, of Borgo-a -San Sepolcro, who was giving his attention to design and painting under the same master, and who, constantly advising Lappoli for his good, was the cause of his changing his manner, and adopting the best manner of Pontormo. The other motive (and this I consider to have been the most powerful) was the fact that he perceived Angelo, called Bronzino, to be much brought forward by Jacopo Pontormo on account of a certain amiable submissiveness and goodness, and of the unremitting diligence with which he copied the works of the master. Angelo designed, moreover, most beautifully, and acquitted himself in colouring also with so much credit, that he early gave hope of attaining in the future to that excellence and perfection which has been seen, and in our time still continues to be remarked in him.
Impelled by these incentives, and by his natural desire for knowledge, Giovan-Antonio remained for many months with Pontormo, occupied perpetually in designing and in copying the works of that master; all which he performed to such perfection, that when we consider the natural endowments by which he was aided, in his desire for excellence, the effect of competition, and the goodness of his master’s manner, it cannot be doubted but that Lappoli, had he continued as he
- ↑ This painting has been almost entirely destroyed by time.
