At the head of the garden and vineyard of the Friars of S. Gallo, without the gate that is called after that Saint, in a chapel that is in a line with the central entrance, he painted a Dead Christ, a Madonna weeping, and two little Angels in the air, one of whom was holding the Chalice of the Passion in his hands, and the other was supporting the fallen head of Christ. On one side was S. John the Evangelist, all tearful, with the arms stretched out, and on the other S. Augustine in episcopal robes, who, leaning with the left hand on the pastoral staff, stood in an attitude truly full of sorrow, contemplating the Dead Saviour. And for Messer Spina, the familiar friend of Giovanni Salviati, he executed in a courtyard, opposite to the principal door of his house, the coat of arms of that Giovanni (who had been made a Cardinal in those days by Pope Leo), with the red hat above and two little boys standing—works in fresco which are very beautiful, and much esteemed by Messer Filippo Spina, as being by the hand of Pontormo.

Jacopo also worked, in competition with other masters, on the ornamentation in wood that was formerly executed in a magnificent manner, as has been related elsewhere, in some apartments of Pier Francesco Borgherini; and, in particular, he painted there with his own hand on two coffers some stories from the life of Joseph in little figures, which were truly most beautiful. And whoever wishes to see the best work that he ever did in all his life, in order to consider how able and masterly was Jacopo in giving liveliness to heads, in grouping figures, in varying attitudes, and in beauty of invention, let him look at a scene of some size, likewise in little figures, in the corner on the left hand as one enters through the door, in the chamber of Borgherini, who was a nobleman of Florence; in which scene is Joseph in Egypt, as it were a Prince or a King, in the act of receiving his father Jacob with all his brethren, the sons of that Jacob, with extraordinary affection. Among these figures he portrayed at the foot of the scene, seated upon some steps, Il Bronzino, who was then a boy and his disciple—a figure with a basket, which is lifelike and beautiful to a marvel. And if this scene were on a greater scale, on a large panel or a wall, instead of being small, I would venture to say that it would not be possible to find another picture executed with the grace, excellence, and even perfection wherewith this one was painted by Jacopo; wherefore it was rightly regarded by all craftsmen as the most beautiful picture that Pontormo ever executed. Nor is it to be wondered at that Borgherini should have prized it as he did, and should have been besought to sell it by great persons as a present for mighty lords and princes.

VERTUMNUS FRESCO (DETAIL)
(After Jacopo da Pontormo. Poggio a Caiano: Villa Reale)
Alinari
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On account of the siege of Florence Pier Francesco retired to Lucca, and Giovan Battista della Palla, who desired to obtain, together with other things that he was transporting into France, the decorations of this chamber, so that they might be presented to King Francis in the name of the Signoria, received such favours, and went to work so effectively with both words and deeds, that the Gonfalonier granted a commission that they should be taken away after payment to the wife of Pier Francesco. Whereupon some others went with Giovan Battista to execute the will of the Signori; but, when they arrived at the house of Pier Francesco, his wife, who was in the house, poured on Giovan Battista the greatest abuse that was ever spoken to any man. "So you make bold, Giovan Battista," said she, "you vile slop-dealer, you little twopenny pedlar, to strip the ornaments from the chambers of noblemen and despoil our city of her richest and most honoured treasures, as you have done and are always doing, in order to embellish with them the countries of foreigners, our enemies! At you I do not marvel, you, a base plebeian and the enemy of your country, but at the magistrates of this city, who aid and abet you in these shameful rascalities. This bed, which you would seize for your own private interest and for greed of gain, although you keep your evil purpose cloaked with a veil of righteousness, this is the bed of my nuptials, in honour of which my husband's father, Salvi, made all these magnificent and regal decorations, which I revere in memory of him and from love for my husband, and mean to defend with my very blood and with life itself. Out of this house with these your cut-throats, Giovan Battista, and go to those who sent you with orders that these things should be removed from their places, for I am not the woman to suffer a single thing to be moved from here. If they who believe in you, a vile creature of no account, wish to make presents to King Francis of France, let them go and strip their own houses, and take the ornaments and beds from their own chambers, and send them to him. And you, if you are ever again so bold as to come to this house on such an errand, I will make you smart sorely for it, and teach you what respect should be paid by such as you to the houses of noblemen." Thus spoke Madonna Margherita, the wife of Pier Francesco Borgherini, and the daughter of Ruberto Acciaiuoli, a most noble and wise citizen; and she, a truly courageous woman and a worthy daughter of such a father, with her noble ardour and spirit, was the reason that those gems are still preserved in that house.

Giovan Maria Benintendi, about this same time, had adorned an antechamber in his house with many pictures by the hands of various able men; and after the work executed for Borgherini, incited by hearing Jacopo da Pontormo very highly praised, he caused a picture to be painted by him with the Adoration of the Magi, who went to Bethlehem to see Christ; which work, since Jacopo devoted to it much study and diligence, proved to be well varied and beautiful in the heads and in every other part, and to be truly worthy of all praise. Afterwards he executed for Messer Goro da Pistoia, then Secretary to the Medici, a picture with the portrait of the Magnificent Cosimo de' Medici, the elder, from the knees upwards, which is indeed worthy to be extolled; and this portrait is now in the house of Messer Ottaviano de' Medici, in the possession of his son, Messer Alessandro, a young man—besides the distinction and nobility of his blood—of most upright character, well lettered, and the worthy son of the Magnificent Ottaviano and of Madonna Francesca, the daughter of Jacopo Salviati and the maternal aunt of the Lord Duke Cosimo.

By means of this work, and particularly this head of Cosimo, Pontormo became the friend of Messer Ottaviano; and the Great Hall at Poggio a Caiano having then to be painted, there were given to him to paint the two ends where the round openings are that give light—that is, the windows—from the vaulting down to the floor. Whereupon, desiring to do himself honour even beyond his wont, both from regard for the place and from emulation of the other painters who were working there, he set himself to study with such diligence, that he overshot the mark, for the reason that, destroying and doing over again every day what he had done the day before, he racked his brains in such a manner that it was a tragedy; but all the time he was always making new discoveries, which brought credit to himself and beauty to the work. Thus, having to execute a Vertumnus with his husbandmen, he painted a peasant seated with a vine-pruner in his hand, which is so beautiful and so well done that it is a very rare thing, even as certain children that are there are lifelike and natural beyond all belief. On the other side he painted Pomona and Diana, with other Goddesses, enveloping them perhaps too abundantly with draperies. However, the work as a whole is beautiful and much extolled; but while it was being executed Leo was overtaken by death, and so it remained unfinished, like many other similar works at Rome, Florence, Loreto, and other places; nay, the whole world was left poor, being robbed of the true Mæcenas of men of talent.