There, among the works of many that he saw, the manner of Andrea del Sarto and of Jacopo da Pontormo pleased him more than that of all the others who had worked at painting in that city. Wherefore he resolved to place himself under one of those two, and was hesitating as to which of them he should choose as his master, when there were uncovered the Faith and Charity painted by Pontormo over the portico of the Nunziata in Florence, and he became fully determined to go to work under Pontormo, thinking that his manner was so beautiful that it might be expected that Jacopo, who was still a young man, was destined to surpass all the young painters of his own age, as, indeed, was the firm belief of everyone at that time. Lappoli, then, although he might have gone to work under Andrea, for the said reasons attached himself to Pontormo, under whose discipline he was for ever drawing, spurred to incredible exertions, out of emulation, by two motives. One of these was the presence of Giovan Maria dal Borgo a San Sepolcro, who was studying design and painting under the same master, and who, always advising him for his own good, brought it about that he changed his manner and adopted the good manner of Pontormo. The other--and this spurred him more strongly--was the sight of Agnolo, who was called Bronzino, being much brought forward by Jacopo on account of his loving submissiveness and goodness and the untiring diligence that he showed in imitating his master's works, not to mention that he drew very well and acquitted himself in colouring in such a manner, that he aroused hopes that he was destined to attain to that excellence and perfection which have been seen in him, and still are seen, in our own day.