This artist lived twenty-four years with Lorenzo; and in imitation of his model was contented to paint less than his contemporaries, that he might do it better. He likewise attempted to imitate Porta; but his natural disposition led him rather to follow the simple grace of his instructor, than the sublimity of this master. Few of this school can compare with him for the natural appearance he gave the naked as well as the clothed figure, or for the conception of "handsome, good-natured, sweet, and graceful features."[135] Like Lionardo, he possessed the rare talent of representing images of virtue by the faces of his saints, and of vice by those of his wicked characters. This is exemplified in his Cain and Abel, in the cathedral of Pisa, where he has introduced a landscape, that of itself would do honour to any painter. With equal felicity in the figure and the back-ground, he painted the crucifixion of S. Arcadius, which was brought from another church to that of S. Lorenzo at Florence, where it still remains. He entered into competition with Perino del Vaga, with Mecherino, and Andrea del Sarto, at Pisa, where he was noted for his dilatoriness, but admired for that happy simplicity and elegance which he always preserved. Some have praised a few of his pictures as inclining to the manner of Raffaello, a commendation also bestowed on Luini, and other followers of Lionardo. He had pupils who afterwards followed other masters: but a Zanobi di Poggino, who painted many pictures for Florence, which are now unknown, appears to have had no other master.