Though Luca's style of design was no more that of Masaccio than Michael Agnolo's that of Raphael, less characteristic than grand, and fit to be the vehicle of those conceptions and attitudes which furnished hints of imitation to the painter of the Last Judgement in the Sistina, yet he was master of a grace in celestial scenery and angelic attitudes unapproached by his contemporaries, seldom equalled and never surpassed by his successors. Luca Signorelli was a painter of much popularity. Urbino, Volterra, Florence, Rome, his native and many other towns, possess or possessed works of his. He was related to the family of the Vasari of Arezzo, and caressed and encouraged to the art his infant biographer.[56] Another of the artists employed in the Sistina, inferior to Luca, but of no despicable (though, if we look at Masaccio, too highly rated) powers, was Domenico Bigordi, commonly called Del Ghirlandajo;[57] this is he under whose auspices not only his son Ridolfo, but even Bonaroti and the best artists of the succeeding epoch, began their course. Precision of outline, decorum of countenance, variety of ideas, facility and diligence, distinguish his works. He is the first of Florentines, who gave depth and keeping to composition: if gold and tinsel glitter are not entirely banished from his colours, they appear at least less often. He was fond of introducing portraits among his actors, but with selection and of distinguished characters; though hands and feet had no part in his attention to physiognomy. The churches Degli Innocenti, Santa Trinità, and Sta. Maria Novella at Florence, possess his most celebrated productions, and many are scattered over Tuscany and the Ecclesiastic State. Of the two which he painted in the Sistina, the Resurrection of Christ perished; the Vocation of Peter and Andrew to the Apostolate Survives. Cosimo Rosselli and Pier di Cosimo likewise employed at the Sistina, inferior in all essential parts to their competitors, owe the perpetuity of their names less to their parti-coloured glare and immoderate display of gold and azure, which attracted the vulgar eye of their employer the Pope, than to the luck of having been the masters of Bartolomeo della Porta, and Andrea del Sarto. Piero and Antonio Pollajuoli, though employed only as statuaries in the same Chapel, possessed no inconsiderable powers as painters. Piero's pictures at S. Miniato discover the scholar of Castagno, austere countenances and deep and massy colour; but in novelty of composition and design he yields to his brother and pupil Antonio, whose Martyrdom of St. Sebastian in the Chapel Pucci of that church, though humble in style, crude in colour, and oddly rather than originally conceived, has been numbered with the first productions of the age, because with the earliest traces of legitimate anatomy it exhibits its application, and subordinates enumeration to function. Both the Pollajuoli died at Rome.