Peter, where the titular, and three other saints, stand around the throne of the Virgin.[176] Sebastiano Vini came from Verona, in I know not what year of the 16th century, and was enrolled among the citizens of Pistoia. His reputation and his pictures did honour to the country that adopted him. He left many works both in oil and fresco; but his most extraordinary production was in the suppressed church of S. Desiderio. The façade over the great altar was storied with the crucifixion of the ten thousand martyrs, a work abounding in figures and invention. I have noticed the younger Zacchia of Lucca, who belongs to this epoch, in the preceding one, that I might not separate the father and the son. I am unable to find any other artists sufficiently worthy of record in this district of Tuscany. On the opposite side of it we may turn our eyes to Cortona, and notice two good artists. The one was Francesco Signorelli, the nephew of Luca, who, though unnoticed by Vasari, shows himself a painter worthy of praise, by a circular picture of the patron saints of the city, which was executed for the council hall, in 1320; after which period he lived at least forty years. The other was Tommaso Paparello, or Papacello, both which names are given him by Vasari, when writing of his two masters, Caporali and Giulio Romano. He assisted them both, but I can discover no trace of any work wholly his own. Borgo, afterwards named Città San Sepolcro, could then boast its Raffaello, commonly called Raffaellino dal Colle, born at a small place a few miles from Borgo. He is reckoned among the disciples of Raffaello; but rather belongs to the school of Giulio, whose pupil, dependant, or assistant in his labours at Rome, and in the _Te_ at Mantua, he is considered by Vasari. It is singular that he did not write a separate life of this artist; but assigns him scanty praise in a few scattered anecdotes. His merit is but little known to the public, as he painted for the most part in his native place, or the neighbouring cities; and I am able to add to the catalogue of his pictures from having seen them. He has two pictures at Città San Sepolcro, his only works specified by Vasari. One represents the resurrection of our Saviour, who, full of majesty, regards the soldiers around the sepulchre with an air of displeasure, which fills them with terror. This very spirited picture is in the Church of S. Rocco, and is repeated in the cathedral. The other, which is in the Osservanti of S. Francis, represents the Assumption of the Virgin; a piece agreeable both in colouring and design, but its value is diminished by a figure I am unable to explain, drawn at one side of it by another hand. The same subject is treated in the church of the Conventual friars, at Città di Castello, where great beauty is joined to the highest possible finish, but it loses something of its effect by standing opposite to a fine picture by Vasari, which throws it strongly into the shade.