followed by a monogram, and a lunette of the _Annunciation_ (No. 1517).
The _Portrait of Andrea Fausti_, which is given in the Catalogue under
the name of Sarto, and described as being the work of a pupil, is held
by some critics to have been painted by Franciabigio (1482-1525), who
came under the influence of Andrea.
The insignificant _Portrait of a Young Man_ (No. 1506), which since
1709 has passed under the quite fictitious title of the _Portrait
of Raphael_, and is indeed still catalogued under his name, is an
ill drawn and badly coloured production. It seems to issue from the
influences we have just outlined. Morelli regarded it as the work
of Bacchiacca (1494-1557), who churned up reminiscences of Andrea
del Sarto, Franciabigio, and Perugino. Mr. Berenson has tentatively
assigned it to Sogliani, who imitated Albertinelli and many other
Florentines.
An unattributed Florentine _Portrait of a Young Man_ (No. 1644),
which has been enlarged about three inches all round, had at one time
or another been ascribed without much discrimination to Raphael,
Giorgione, Sebastiano del Piombo, Francesco Francia, Ridolfo
Ghirlandaio, and Franciabigio! It is apparently from the hand of
Giuliano Bugiardini (1475-1554), a mediocre artist who endeavoured to
appropriate all the conflicting influences that he came under. It has
long been hung to the left of Raphael’s _La Belle Jardinière_.
A Florentine painter of no great accomplishment or originality in the
first half of the sixteenth century was Jacopo da Pontormo (1494-1557),
who painted the _Portrait of an Engraver of Precious Stones_ (No. 1241)
and the large _Holy Family_ (No. 1240). The _Visitation_ (No. 1242) is
a copy by a pupil of his fresco in the Annunziata, Florence. By another
pupil, Agnolo Bronzino (1502-1572), are the _Christ and the Magdalene_
(No. 1183), not now exhibited, and the _Portrait of a Sculptor_ (No.
1184); the _Holy Family_ (No. 1183A or No. 1183B) which was formerly
in the Vandeuil collection is only a copy. Giovanni Battista Rosso
(1496-1541), who is called Rosso Fiorentino to distinguish him from
Francesco Rosso (Il Salviati), came to work at the French Court
about 1530; he painted a _Pietà_ (No. 1485), and a _Challenge of the
Pierides_ (No. 1486), which are hung among the French pictures. _The
Portrait of a Musician_ (No. 1608), by Paolo Zacchia; the _Madonna,
St. John and St. Stephen_ (No. 1133), by Michelangelo Anselmi; the
_David overcoming Goliath_ (No. 1462), a repulsive production painted
by Daniele da Volterra (Ricciarelli) on both sides of a large piece of
slate; a _Flight into Egypt_ (No. 1209), by Lodovico Cardi (Il Cigoli),
and Matteo Rosselli’s _Triumph of David_ (No. 1483), are unworthy of
comment. They show unmistakably the characteristics of the Decadence in
full operation.