He died shortly before finishing the work, and some therefore declare that he died of grief, ending his life very much dissatisfied with himself; but the truth is that, being old and much exhausted by making portraits and models in clay and labouring so much in fresco, he sank into a dropsy, which finally killed him at the age of sixty-five. After his death there were found in his house many designs, cartoons, and models in clay, all very beautiful, and a picture of Our Lady executed by him excellently well and in a lovely manner, to all appearance many years before, which was sold by his heirs to Piero Salviati. Jacopo was buried in the first cloister of the Church of the Servite Friars, beneath the scene of the Visitation that he had formerly painted there; and he was followed to the grave by an honourable company of the painters, sculptors, and architects. Jacopo was a frugal and sober man, and in his dress and manner of life he was rather miserly than moderate; and he lived almost always by himself, without desiring that anyone should serve him or cook for him. In his last years, indeed, he kept in his house, as it were to bring him up, Battista Naldini, a young man of fine spirit, who took such care of Jacopo's life as Jacopo would allow him to take; and under his master's discipline he made no little proficiency in design, and became such, indeed, that a very happy result is looked for from him. Among Pontormo's friends, particularly in this last period of his life, were Pier Francesco Vernacci and Don Vincenzio Borghini, with whom he took his recreation, sometimes eating with them, but rarely. But above all others, and always supremely beloved by him, was Bronzino, who loved him as dearly, being grateful and thankful for the benefits that he had received from him. Pontormo had very beautiful manners, and he was so afraid of death, that he would not even hear it spoken of, and avoided having to meet dead bodies. He never went to festivals or to any other places where people gathered together, so as not to be caught in the press; and he was solitary beyond all belief. At times, going out to work, he set himself to think so profoundly on what he was to do, that he went away without having done any other thing all day but stand thinking. And that this happened to him times without number in the work of S. Lorenzo may readily be believed, for the reason that when he was determined, like an able and well-practised craftsman, he had no difficulty in doing what he desired and had resolved to put into execution. SIMONE MOSCA LIFE OF SIMONE MOSCA SCULPTOR AND ARCHITECT