Piero della Francesco died 1494 Jacopo da Pontormo born (d. 1556)

Credi died 1547 Sebastiano del Piombo died 1554 Rustici died 1556 Pontormo died Benedetto da Rovezzano died 1560

Nor does the succession end here; Andrea del Sarto, R. Ghirlandajo, Vasari, Bronzino, Pontormo, and others, follow.

Michelangelo's old friend Granacci dedicated his talents to these shows, which also employed the wayward fancy of Piero di Cosimo and Pontormo's power as a colourist.

The colouring, so far as we can understand it, rather suggests Pontormo.

This is obvious, for Aristotele da San Gallo worked there, as did Ridolfo Ghirlandajo, Raffaello Sanzio da Urbino, Francesco Granaccio, Baccio Bandinelli, and Alonso Berughetta, the Spaniard; they were followed by Andrea del Sarto, Franciabigio, Jacopo Sansovino, Rosso, Maturino, Lorenzetto, Tribolo, then a boy, Jacopo da Pontormo, and Pierin del Vaga: all of them first-rate masters of the Florentine school.

Among these I will mention Jacopo Sansovino, Rosso, Pontormo, Daniele da Volterra, and Giorgio Vasari.

Montelupo and Montorsoli, among sculptors, Marcello Venusti and Pontormo, Daniele da Volterra and Sebastiano del Piombo, among painters, felt his direct influence.

Pontormo and Bronzino, the painters, loaded it with compliments.

Among Del Sarto's followers it will be enough to mention Franciabigio, Vasari's favourite in fresco painting, Rosso de' Rossi, who carried the Florentine manner into France, and Pontormo, the masterly painter of portraits.[401] In the historical pictures of these men, whether sacred or secular, it is clear how much was done for Florentine art by Fra Bartolommeo and Del Sarto independently of Michael Angelo and Lionardo.

Angelo Bronzino, the pupil of Pontormo, is chiefly valuable for his portraits.

Pontormo's portraits of Cosimo and Lorenzo de' Medici in the Uffizzi, though painted from busts and medallions, have a real historical value.

[Footnote 1: This series, painted by Andrea and his scholars and companions, Franciabigio and Pontormo, is very remarkable as a work of art, but presents nothing new in regard to the choice and treatment of the subjects.

Pontormo at 65 (he died actually in his 63rd year).