elf with such diligence and pains,
that those which he has copied up to the present day, and which are in
three friezes in a guardaroba of the said Lord Duke, as will be
described elsewhere in speaking of the decorations of that place, are
more than two hundred and eighty in number, what with Pontiffs,
Emperors, Kings, Princes, Captains of armies, men of letters, and, in
short, all men for some reason illustrious and renowned. And, to tell
the truth, we owe a great obligation to this zeal and diligence of
Giovio and of the Duke, for the reason that not only the apartments of
Princes, but also those of many private persons, are now being adorned
with portraits of one or other of those illustrious men, according to
the country, family, and particular affection of each person.
Cristofano, then, having established himself in this manner of painting,
which is suited to his genius, or rather, inclination, has done little
else, as one who is certain to derive from it honour and profit in
abundance.

[Footnote 1: Given in the original Italian edition of 1568.]

Pupils of Bronzino, also, are Stefano Pieri and Lorenzo della Sciorina,
who have so acquitted themselves, both the one and the other, in the
obsequies of Michelagnolo and in the nuptials of his Highness, that they
have been admitted among the number of our Academicians.

From the same school of Pontormo and Bronzino has issued also Battista
Naldini, of whom we have spoken in another place. This Battista, after
the death of Pontormo, having been some time in Rome and having applied
himself with much study to art, has made much proficience and become a
bold and well-practised painter, as many works demonstrate that he has
executed for the very reverend Don Vincenzio Borghini, who has made
great use of him and assisted him, together with Francesco da Poppi, a
young man of great promise and one of our Academicians, who has
acquitted himself well in the nuptials of his Highness, and other young
men, whom Don Vincenzio is continually employing and assisting. Of this
Battista, Vasari has made use for more than two years, as he still does,
in the works of the Ducal Palace of Florence, where, by the emulation of
many others who were working in the same place, he has made much
progress, insomuch that at the present day he is equal to any other
young man of our Academy; and that which much pleases those who are good
judges is that he is expeditious, and does his work wit