Andrea had several scholars, some of whom studied under other masters, and did not acquire much of his style. Such was Cesare Turco, who rather took after Pietro; a good painter in oil, but unsuccessful in fresco. But Andrea was the sole master of Francesco Santafede, the father and master of Fabrizio; painters who in point of colouring have few equals in this school, and possessing a singular uniformity of style. Nevertheless the experienced discover in the father more vigour, and more clearness in his shadows; and there are by him some pictures in the Soffitto of the Nunziata, and a Deposition from the Cross in the possession of the prince di Somma, highly celebrated. But of all the scholars of Andrea, one Paolillo resembled him the most, whose works were all ascribed to his master, until Dominici restored them to their right owner. He would have been the great ornament of this school had he not died young. Polidoro Caldara, or Caravaggio, came to Naples in the year of the sacking of Rome, 1527. He was not, as Vasari would have us believe, in danger of perishing through want at Naples; for Andrea da Salerno, who had been his fellow disciple, generously received him into his house, and introduced him in the city, where he obtained many commissions, and formed several scholars before he went to Sicily. He had distinguished himself in Rome by his chiaroscuri, as we have related; and he painted in colours in Naples and Messina. His colour in oil was pallid and obscure, at least for some time, and in this style I saw some pictures of the Passion in Rome, which Gavin Hamilton had received from Sicily. In other respects they were valuable, from their design and invention. Vasari mentions this master with enthusiasm, calls him a divine genius, and extols to the skies a picture which he painted in Messina a little while before his death. This was a composition of Christ on his way to Mount Calvary, surrounded by a great multitude, and he assures us that the colouring was enchanting. Giambernardo Lama was first a scholar of Amato, and afterwards attached himself to Polidoro, in whose manner he painted a Pietà at S. Giacomo degli Spagnuoli, which, from its conception, its correctness, and vigour of design, variety in attitude, and general style of composition, was by many ascribed to that master. In general however, he displayed a softer and more natural manner, and was partial to the style of Andrea di Salerno. Marco di Pino, an imitator of Michelangiolo, as we have observed, though sober and judicious, was held in disesteem by him. In the _Segretario_ of Capece, there is an interesting letter to Lama, where amongst other things he says, "I hear that you do not agree with Marco da Siena, as you paint with more regard to beauty, and he is attached to a vigorous design without softening his colours. I know not what you desire of him, but pray leave him to his own method, and do you follow yours."