Gio. Francesco Penni, called "Il Fattore," came to Naples some time after Polidoro; and, during the short time which he lived, for he died in 1528, contributed to the advancement of the art by leaving his great copy of Raffaello's Transfiguration and his pupil Lionardo Grazia, of Pistoia, behind him, a name more celebrated for colour, and far less for design, than might have been expected from a nurseling of the Roman School. He is said to have been one of the masters of Francesco Curia, who went to Rome to study the style of Raffaello, but returned with the manner of Zucchero. His composition is, however, praised for decorum and suavity, his angels and female countenances for beauty, and his colour for a tone of nature:--their full display distinguished that Circumcision at the Church della Pietà, which Ribera, Giordano, and Solimene placed among the masterpieces of Naples. Curia left a close imitator in Ippolito Borghese, of whom little is seen at home, where he seldom resided, but the Assumption of Maria at the Monte della Pietà,--an extensive work, marked by equal vigour of execution. Perino del Vaga, at Rome, instructed, and was assisted by, two Neapolitans, Giovanni Corso and Gianfilippo Criscuolo. The best that remains of Corso at Naples, is a Christ bearing his Cross, in S. Lorenzo. Long a pupil of Sabbatini, Criscuolo, during the little time of his stay at Rome, studied the works of Raffaello with a perseverance which acquired him the name of the Studious Neapolitan; but without native vigour, timid, correct, and dry, he remained fitter to teach than to lead. Such were the principal followers of the Roman School at Naples; for neither Francesco Imparato, who abandoned the dry precepts of Criscuolo for the genial example of Tiziano, nor his son Girolamo, who long after followed the same principles with more pretence and less success, can properly be classed among the pupils of Rome. About 1544[114] a Tuscan introduced at Naples, what is as commonly as impertinently called, the style of Michael Angiolo: a cold enumeration of sesquipedalian muscles, groups uninspired by thought, feeble in effect, and crude or faint in colour, methodized by manner and despatched by practice. Thus Giorgio Vasari filled the Refectory of Monte Oliveto, during one year of residence, with an enormous work, which he considered as the electric stroke that was to animate that indolent taste, till then vainly solicited by Raffaello and his school. Whether he disgusted the national pride by such insolent civility, or provoked the indignation of those who, in Andrea Sabbatini, venerated a superior name, it appears that, so far from creating a school, he was discountenanced by the public, and incurred the perpetual censure of every Neapolitan writer on art. He ought to have known, that he who challenges a nation, courts an eternal feud.