Bronzino, Pontormo’s close follower, had none of his master’s talent as a decorator, but happily much of his power as a portrait-painter. Would he had never attempted anything else! The nude without material or spiritual significance, with no beauty of design or colour, the nude simply because it was the nude, was Bronzino’s ideal in composition, and the result is his “Christ in Limbo.” But as a portrait-painter, he took up the note struck by his master and continued it, leaving behind him a series of portraits which not only had their effect in determining the character of Court painting all over Europe, but, what is more to the point, a series of portraits most of which are works of art. As painting, it is true, they are hard, and often timid; but their air of distinction, their interpretive qualities, have not often been surpassed. In his Uffizi portraits of Eleanora di Toledo, of Prince Ferdinand, of the Princess Maria, we seem to see the prototypes of Velasquez’ queens, princes, and princesses: and for a fine example of dignified rendering of character, look in the Sala Baroccio of the Uffizi at a bust of a young woman with a missal in her hand.