I used to believe that it was after this work, and not before, that the same Jacopo had painted in fresco the two most lovely and graceful little boys who are supporting a coat of arms over a door within a passage on the Lungarno, between the Ponte S. Trinita and the Ponte alla Carraja, for Bartolommeo Lanfredini; but since Bronzino, who may be supposed to know the truth about these matters, declares that they were among the first works that Jacopo executed, we must believe that this is so without a doubt, and praise Pontormo for them all the more, seeing that they are so beautiful that they cannot be matched, and yet were among the earliest works that he did. But to resume the order of our story: after these works, Jacopo executed for the men of Pontormo an altar-piece wherein are S. Michelagnolo and S. John the Evangelist, which was placed in the Chapel of the Madonna in S. Agnolo, their principal church. At this time one of two young men who were working under Jacopo--that is, Giovan Maria Pichi of Borgo a S. Sepolcro, who was acquitting himself passing well, and who afterwards became a Servite friar, and executed some works in the Borgo and in the Pieve a S. Stefano--while still working, I say, under Jacopo, painted in a large picture a nude S. Quentin in martyrdom, in order to send it to the Borgo. But since Jacopo, like a loving master to his disciple, desired that Giovan Maria should win honour and praise, he set himself to retouch it, and so, not being able to take his hands off it, and retouching one day the head, the next day the arms, and the day after the body, the retouching became such that it may almost be said that the work is entirely by his hand. Wherefore it is no marvel that this picture, which is now in the Church of the Observantine Friars of S. Francis in the Borgo, is most beautiful. [Illustration: JOSEPH AND HIS KINDRED IN EGYPT (_After the painting by =Jacopo da Pontormo=. London: National Gallery, 1131_) _Hanfstaengl_] The second of the two young men, who was Giovanni Antonio Lappoli of Arezzo, of whom there has been an account in another place, like a vain fellow had taken a portrait of himself with a mirror, also while he was working under Jacopo. But his master, thinking that the portrait was a poor likeness, took it in hand himself, and executed a portrait that is so good that it has the appearance of life; which portrait is now at Arezzo, in the house of the heirs of that Giovanni Antonio.