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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
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