Some good frescoes of his existed in the convent of Santa Caterina, but were destroyed when the building was reconstructed in 1688. A very charming fresco of the _Visitation_ still exists in the court of the SS. Annunziata. It shows him as a good pure colourist, the flesh tints being especially tender; the composition is lively, full, and effective. In 1518 he painted a fine altar-piece for the church of S. Michele Visdomini, Florence, by commission of Francesco Pucci. The _Madonna_, seated, is showing the Child Jesus to S. Joseph, whose face is most expressive and full of smiling admiration. S. John Baptist stands near, at the sides are S. John Evangelist, S. James, and S. Francis, the latter kneeling in ecstatic admiration. In some cases he was placed in direct competition with his master, Andrea del Sarto, being employed by Borgherini to paint the coffers and cabinets in the same room for which Andrea did the _History of Joseph_; and again later at Poggio a Cajano, where the ends of the great hall were assigned to him to paint, Andrea and Francia Bigio taking the larger walls at the sides. On one end he designed an allegory of _Vertumnus_, with his husbandmen around him busy with their labours, and on the other _Pomona, Diana, &c_. Perhaps in these last he has carried his imitation of Andrea del Sarto rather too far in the matter of draperies, which are too profuse and studied. Indeed the whole works are overdone; he was so anxious to rival his master that he forced his invention, altering and labouring till all spontaneity was taken out of his work. Some of his frescoes were in the cloister of the Certosa, but they are not fair specimens of his best style, as they were done when the Florentine artists were smitten with the mania of imitating Albrecht Dürer, and in these he has entirely followed the harder manner of that artist without obtaining his strength. The frescoes are all scenes from the _Life of Christ_, and he spent several years over them; after which he painted an altar-piece. Giovanni Battista della Palla commissioned him to paint a picture to be sent to the King of France, and Pontormo returning wisely to his natural style, painted one of his masterpieces, the _Resurrection of Lazarus_. The Pitti Palace possesses a curious specimen of his work, the 11,000 martyrs crucified in a wood in the persecution under the Emperor Diocletian.