During the many years that Giannantonio lived at Siena, he must have educated many pupils. A few of them only are noticed by Mancini in one of his Fragments;[283] and these are Rustico, the father of Cristofano, an excellent painter of grotesques, with which he filled Siena; Scalabrino, a man of genius, and a poet;[284] and Michelangiolo Anselmi, or Michelangiol da Siena, a painter claimed by several places. We shall consider him in the school of Parma, as he left no work in Siena, except a fresco in the church of Fonte Giusta, a production of his youth, and not worthy of so great a name. A scholar of Razzi, then his assistant, and finally his son-in-law, was Bartolommeo Neroni, otherwise called Maestro Riccio, who after the death of the four great pillars of the school of Siena, supported its reputation for many years, and probably educated one of its restorers. He may be recognized at the Osservanti, in a Crucifixion with three saints standing around, and people in the distance. But his masterpiece was a Descent from the Cross, much in the manner of Razzi, at the Derelitte. Some of his other pictures yet remain in the city, in which he sometimes appears to mingle the style of his father-in-law, with a certain resemblance to the manner of Vasari, in the distribution of his tints. He is known to have been very excellent in perspective, and particularly so in painting scenery; a specimen of which was engraved by Andreani. He was also greatly skilled in architecture, and had a pension from the magistrates of Lucca for his assistance in their public works. Some books include among his disciples Anselmi, who was rather his kinsman; and Arcangiolo Salimbeni, who finished some of his works after his death, and on this account only has been supposed his scholar. From him we shall commence a new epoch in this school.