Of his scholars all persevered not in his manner: thus Cesare Turco, as commendable in oil as unsuccessful in fresco, drew nearer to P. Perugino. More of Andrea was retained by Francesco Santafede, the father and master of Fabrizio,--painters whom few of that school equal in colour, and so uniform that their works can only be discriminated by the superior tinge and chiaroscuro of the father. But the scholar who most resembled Andrea was one Paolillo, whose works, nearly all ascribed to his master, till restored to their real author by Dominici, leave little doubt of his right to the first honours of that school, had his career not been intercepted by a violent death, occasioned by intrigue. Polidoro Caldara, of Caravaggio, escaped to Naples in 1527, from the sack of Rome, but not, as Vasari with less information than credulity relates, to starve. Received in the house of Andrea, formerly his fellow scholar, he soon acquired acquaintance, commissions, and even formed pupils before his departure for Sicily. He had been celebrated for his chiaroscuros at Rome: at Naples and Messina he attempted colour. The shadowy and pallid specimens he has left, leave a doubt whether he would ever have arrived at a degree of strength or brilliancy worthy of invention and style, though he has been praised with enthusiasm by Vasari for the colour of the Christ led to Calvary, a numerous composition, and the last before his assassination at Messina. Gian Bernardo Lama left the school of Amato to attach himself to Polidoro, whom he more than once imitated with sufficient success to incur the suspicion of having been assisted by the master: he had, however, more sweetness than energy, and, in the sequel, was noted for his opposition to the vigorous inroads of the Tuscan style and the prevalence of Marco di Pino. Francesco Rubiales, a Spaniard, from his felicity of imitation called Polidorino, is likewise named in Naples among the scholars of Caldara, whom he assisted in painting for the Orsini, and singly conducted several works at Monte Oliveto, and elsewhere, the greater part of which are no more. There are who class with the scholars of Polidoro, Marco Cardisco, called Marco Calabrese.[113] Him Vasari prefers to all the natives of that epoch, and admires as a plant sprung from a soil not its own: he knew not, perhaps, that, of Magna Grecia, modern Calabria was the spot most favoured by the arts. Possessed of a dextrous hand and florid colour, Cardisco spread his labours over Napoli and the State: of what remains, the most praised is the Dispute of Saint Augustine at Aversa. Gio. Batista Crescione and Lionardo Castellani are slightly mentioned by Vasari as his scholars.