The manner of Cortona was likewise adhered to by Gio. Batista Brugieri, a scholar of Baldi and of Maratta, who was in his day highly applauded for his works in the chapel of the Sacrament, at the Servi, and his other productions in public. P. Stefano Cassiani, from the fraternity to which he belonged, surnamed Il Certosino, or the Carthusian, painted in fresco the cupola of his church, and two large histories of our Lady, besides other reputable works in the style of Cortona, at the Certosa of Pisa, of Siena, and elsewhere. Girolamo Scaglia, a disciple of Paulini and of Gio. Marracci, is surnamed Parmegianino. In architecture he imitated Berrettini, as is remarked by Sig. da Morrona;[239] in his shadows he followed Paulini, and sometimes approached Ricchi: as a painter his effect was superior to his design; or as it was observed by the Cav. Titi, (p. 146) on beholding his picture of the Presentation, painted at Pisa, it exhibits extreme industry and very little taste. Gio. Domenico Campiglia was reckoned among the best designers in Rome; and of him the engravers of antiquities particularly availed themselves. He was not without merit as a painter; and in Florence, where he executed some pictures, his portrait has a place among those of eminent artists. A picture painted by Pietro Sigismondi, of Lucca, for the great altar of S. Nicholas in Arcione at Rome, is honourably mentioned by Titi: I know not whether any of his works remain in his native place; and the same is the case with Massei and with Pini, who will be considered in another school.