A Florentine painter of no great accomplishment or originality in the first half of the sixteenth century was Jacopo da Pontormo (1494-1557), who painted the _Portrait of an Engraver of Precious Stones_ (No. 1241) and the large _Holy Family_ (No. 1240). The _Visitation_ (No. 1242) is a copy by a pupil of his fresco in the Annunziata, Florence. By another pupil, Agnolo Bronzino (1502-1572), are the _Christ and the Magdalene_ (No. 1183), not now exhibited, and the _Portrait of a Sculptor_ (No. 1184); the _Holy Family_ (No. 1183A or No. 1183B) which was formerly in the Vandeuil collection is only a copy. Giovanni Battista Rosso (1496-1541), who is called Rosso Fiorentino to distinguish him from Francesco Rosso (Il Salviati), came to work at the French Court about 1530; he painted a _Pietà_ (No. 1485), and a _Challenge of the Pierides_ (No. 1486), which are hung among the French pictures. _The Portrait of a Musician_ (No. 1608), by Paolo Zacchia; the _Madonna, St. John and St. Stephen_ (No. 1133), by Michelangelo Anselmi; the _David overcoming Goliath_ (No. 1462), a repulsive production painted by Daniele da Volterra (Ricciarelli) on both sides of a large piece of slate; a _Flight into Egypt_ (No. 1209), by Lodovico Cardi (Il Cigoli), and Matteo Rosselli’s _Triumph of David_ (No. 1483), are unworthy of comment. They show unmistakably the characteristics of the Decadence in full operation. THE LATER SIENESE SCHOOL We have already sketched the earliest period of the art of Siena, and seen how for a brief space of time it dominated that of Tuscany. The greater precision of the Florentine technique, and the wider mental outlook of its artists in the fifteenth century, placed it in the van before long. Sano di Pietro (1406-1481), a pupil of Sassetta, undoubtedly painted the five small characteristic panels (No. 1128-32), which illustrate scenes from the _Life of St. Jerome_, and at one time formed the predella of a large altarpiece. St. Jerome, with others of his order who run away, kneels under a portico of the monastery he founded at Bethlehem, and is extracting a thorn from the lion’s paw. According to the legend, the lion was afterwards placed in charge of an ass which the monks employed to carry wood; we see here that while the lion was asleep in the heat of the day under a clump of trees, the ass was stolen by merchants. St. Jerome naturally believed that the ass had not been carried off by a passing caravan, but eaten by the lion, who subsequently saw his old friend the ass in the possession of the same merchants that chanced to pass that way again. The lion is here seen (No. 1130) in the act of compelling, one might almost say pushing, the ass and the other beasts of burden laden with provisions back into the monastery, while the merchants flee away in terror.