pleasure and profit which I hope that it may derive from the knowledge of the distinguished persons here named, and from these my labours.
OF THE ACADEMICIANS OF DESIGN, PAINTERS, SCULPTORS AND ARCHITECTS; AND OF THEIR WORKS, MORE PARTICULARLY THOSE OF BRONZINO.
Having so far written the Lives of the most eminent painters, sculptors, and architects, who have passed to a better life, from the time of Cimabue down to the present day; and having mentioned those still living as occasions were presented to me, there now remains that I say something of the Artists belonging to our Academy of Florence, respecting whom I have not hitherto found opportunity for speaking to sufiicient purpose. Beginning with the first and oldest, therefore, I proceed to the Florentine painter, Agnolo, called II Bronzino, a truly excellent artist, and one most worthy of all praise.
Having been many years with Pontormo, as we have before said,[1] he acquired the manner of that master to such perfection that their works have frequently been taken on.e for the other, so exactly did the two artists, for a certain time, resemble each other. And it is of a truth not a little wonderful, that Angelo should have acquired Pontormo’s manner so completely, seeing that the latter was always somewhat rude and repulsive, even with his most beloved disciples, not liking indeed that any one should see his works until they were entirely finished. The patience and affection displayed by Agnolo to Pontormo were nevertheless such, that Jacopo could not choose but treat him well, and love him like a son.
The first works of any importance executed by Bronzino were performed while he was still but a youth, at the Certosa of Florence, in two Arches; one on the inside and one on the outside of the door which leads from the great Cloister
- ↑ In the Life of Pontormo, vol. iv. See also Borghini, Riposo, where we find that Bronzino was born in one of the suburbs of Florence of very poor parents.
