After considering the artists of Florence, on turning to the rest of Tuscany, we find in many places other associates of Giorgio, who, perhaps, had as many assistants in painting as bricklayers in architecture. Stefano Veltroni, of Monte Sansavino, his cousin, was a man of slow parts, but very respectable in the art. He assisted Vasari in the vineyard of Pope Julius; or rather he superintended the grotesque works in that place; and followed his cousin to Naples, to Bologna, and to Florence. I know not whether Orazio Porta, likewise a native of Sansavino, and Alessandro Fortori of Arezzo, ever left Tuscany; they appear to have painted chiefly in their native city and its vicinity. Bastiano Flori and Fra Salvatore Foschi, both natives of Arezzo, were employed in the Roman Chancery, along with Bagnacavallo, and the Spaniards Ruviale and Bizzerra. Andrea Aretino, the scholar of Daniello, lived at a later period, or at least until 1615.[207] About this time Città San Sepolcro was a seminary for painters, who were either wholly or chiefly educated by Raffaellino; and from this place Vasari invited not only the master, but several of the scholars to assist him in his labours. He was greatly assisted by Cristoforo Gherardi, surnamed Doceno, whose life he has written. This artist was his right hand, if we may be allowed the expression, in almost every place where he was much employed. Gherardi followed his designs with a freedom resulting from a genius pliant, copious, and natural, adapted to ornamental works. Such was his talent for managing fresco colours, that Vasari pronounces himself his inferior: but the grotesques of the Vitelli palace, which are wholly his own, shew him not to have been more vigorous in his colouring. The oil picture of the Visitation in the church of S. Domenico, at Città di Castello, is entirely his own; but Vasari does not mention it. The upper part of the picture of S. Maria del Popolo, at Perugia, is likewise his; and is no less elegant and graceful, than the lower part, which is the work of Lattanzio della Marca, is firm and vigorous. Doceno died in his native place in 1552; and Cosmo I. honoured his tomb with a bust of marble, and an epitaph, in which he is said to be _Pingendi arte præstantissimus_, and Vasari, who had approved of his labours in the old palace, is called _hujus artis facile princeps_. It is written in the name of all the Tuscan painters,[208] and is alone sufficient to demonstrate the state of this school, and the taste of Cosmo. After this specimen, it is not surprising that the prince neglected to have his portrait painted by Tiziano, whom he would esteem little in comparison to his own Vasari. It is a true observation that virtues are not hereditary, or, as it is expressed by the poet, they rarely spring up again in the branches. Leo X. was the patron of the arts, and he knew how to appreciate them; but Cosmo encouraged, without possessing taste to discriminate.