is
eclectic painter, who, though working in a baroque style, is not without
talent, is confounded with the most diverse masters, both in drawings
and paintings";[85] and the fact that besides the above-mentioned
variations of style, his work is also pardonably attributed to Girolamo
del Pacchia[86] and to Sodoma,[87] fully justifies the epithet and the
assertion. Of the other and less important followers, Tommaso Bernabei,
called Papacello, seems to have been first assistant of Giulio Romano,
and then of Giambattista Caporali, with whom he is said to have painted
the frescoes in the Villa Passerini, near Cortona. His first original
work is of the year 1524--a "Conception of the Virgin," in the church of
Santa Maria del Calcinaio, near Cortona, in which the manner of
Signorelli is very apparent. In the same church are two other paintings
by him, dated 1527, an "Adoration of the Magi," and an "Annunciation,"
which are sufficient to indicate the small amount of artistic ability of
the painter. The date of his birth is unknown; he died in 1559.[88]

We have, besides, four members of Signorelli's own family. First, his
son Polidoro, whom we know to have been his assistant at Orvieto; for,
in a document of 1501, he is mentioned as having received certain
payments there for salary, as well as for materials for the work.[89]
His manner of painting is unknown to us, so that it is impossible to
distinguish his share in the frescoes.

Two other sons, Antonio and Pier Tommaso, were, it seems, also
assistants of their father, the former being the painter of a dated
altar-piece in the church of Santa Maria del Calcinaio, near
Cortona.[90] Lastly, his nephew Francesco, the most important of the
assistants bearing his own name, from whose hand there are several
paintings very close to the master in style. To him, at least, are
attributed the standard of "The Baptism," in the Gallery of Citta di
Castello, and a _Tondo_ of a "Madonna and Saints," in the Palazzo
Pubblico, Cortona. There is one signed altar-piece by him, "The
Conception of the Virgin," in the choir of S. Francesco, Gubbio.

Turpino Zaccagna is another pupil, of whom Manni writes that he was a
noble youth of Cortona, who took to painting, and imitated Signorelli's
style.[91] Of his work remains an altar-piece in the church of S. Agata
di Cantalena, near Cortona, signed and dated 1537.

With him the list of known pupils closes. But more really important than
either of th