Franciabigio

[1] In 1520–21, at the villa Medici at Poggio a Caiano he frescoed a turgid Triumph of Cicero on the walls of the salon, but again he is overshadowed by Potormo's naturalistic lunette of Vertumnus and Pomona.

The array of figures appears distraught rather than celebratory, the antique details are a melange of quotations, and the architect a fancy of Quattrocento style.

Such as the Madonna del Pozzo, with its awkwardly muscular John the Baptist;[8] and some of his portraits, including the half figure of a Young Man.

These two works show a close analogy in style to another in the Pitti gallery, avowedly by Franciabigio, a Youth at a Window, and to some others—which bear this painter's recognized monogram.

Together with Andrea’s student, Jacopo da Pontormo, they decorated the Medici villa at Poggio a Caiano, where Franciabigio’s Triumph of Caesar displays his talent for narrative painting.

Franciabigio attends more to linearity and balance in fresco recalling Massacio, while Sarto's paintings reflect an understanding that characterizes Venetian work, and the development of sway that will "mannerize" art in the decades to come.