Pontormo, who had it in him to be a decorator and portrait-painter of the highest rank, was led astray by his awe-struck admiration for Michelangelo, and ended as an academic constructor of monstrous nudes. What he could do when expressing himself, we see in the lunette at Poggio a Caiano, as design, as colour, as fancy, the freshest, gayest, most appropriate mural decoration now remaining in Italy; what he could do as a portrait-painter, we see in his wonderfully decorative panel of Cosimo dei Medici at San Marco, or in his portrait of a “Lady with a Dog” (at Frankfort), perhaps the first portrait ever painted in which the sitter’s social position was insisted upon as much as the personal character. What Pontormo sank to, we see in such a riot of meaningless nudes, all caricatures of Michelangelo, as his “Martyrdom of Forty Saints.”