About this time many artists flourished in Arezzo, but of these two only are praised by Vasari, who is not sparing in his commendations of the Florentines, as I have remarked, but deals them scantily to his own townsmen. Giovanni Antonio, the son of Matteo Lappoli, was the scholar of Pontormo, and the friend of Perino and of Rosso, with whom he lived in Tuscany, and whose style he emulated in Rome. He was more employed in painting for private houses than for churches. Guglielmo, surnamed Da Marcilla, by Vasari, a foreigner by birth, became a citizen of Arezzo from inclination and long residence; he was dear to the citizens, who afforded him the means of enjoying life, and grateful to the city, where he left most beautiful monuments of his genius. He had been a Dominican in his own country; he became a secular priest on arriving in Italy, and at Arezzo he was called the Prior. He was an excellent painter on glass, and on this account, was brought to Rome by one Claude, a Frenchman, to execute windows for Julius II.; but he also employed himself in fresco. He studied design in Italy, and so improved in that art, that his works at Rome seem designs of the fourteenth century, while the Aretine ones appear the work of a modern. He painted some ceilings and arches in the cathedral, with scriptural subjects in fresco. In design he followed Michelangiolo, as nearly as he could; but his colouring was not firm. His paintings on glass are quite in a different style; there, to very good drawing, and uncommon expression, he joined tints that partake of the emerald, the ruby, and of oriental sapphire, and which, when illuminated by the sun, exhibit all the brilliance of the rainbow. In Arezzo, there are so many windows of this glass at the cathedral, at S. Francis, and at many other churches, that they might excite the envy of much larger cities. They are so finely wrought with subjects from the New Testament, and other scriptural histories, that they seem to have reached the perfection of the art. The Vocation of S. Matthew, in a window of the cathedral, is highly praised by Vasari; it exhibits "perspectives of temples and flights of steps, figures so finely composed, landscapes so well executed, that one can hardly imagine they were glass, but something sent down from Heaven for the delight of mankind."