Few of his pictures are to be seen in Rome, and amongst them is the Madonna of Loreto, in the church of S. Agostino; but the best is the Deposition from the Cross, in the church of the Vallicella, which forms a singular contrast to the gracefulness of Barocci, and the seductive style of Guido, exhibited on the adjoining altars. He generally painted for collections. On his arrival in Rome he painted flowers and fruit; afterwards long pictures of half figures, a custom much practised after his time. In these he represented subjects sacred and profane, and particularly the manners of the lower classes, drinking parties, conjurors, and feasts. His most admired works are his Supper at Emmaus, in the Casa Borghese; S. Bastiano in Campidoglio; Agar, with Ishmael Dying, in the Panfili collection; and the picture of a Fruit Girl, which exhibits great resemblance of nature, both in the figures and accompaniments. He was still more successful in representing quarrels and nightly broils, to which he was himself no stranger, and by which too he rendered his own life scandalous. He fled from Rome for homicide, and resided for some time in Naples; from thence he passed to Malta, where, after having been honoured with the Cross by the Grand Master, for his talent displayed in his picture of the Decollation of S. John, in the oratory of the church of the Conventuals, he quarrelled with a cavalier and was thrown into prison. Escaping from thence with difficulty, he resided for some time in Sicily, and wished to return to Rome; but had not proceeded further on his journey than Porto Ercole, when he died of a malignant fever, in the year 1609. He left numerous works in these different countries, as we learn from Gio. Pietro Bellori, who wrote his life at considerable length. Of his chief scholars we shall treat in the following book. At present we will enumerate his followers in Rome and its territories. His school, or rather the crowd of his imitators, who were greatly increased on his death, does not afford an instance of a single bad colourist; it has nevertheless been accused of neglect, both in design and grace. Bartolommeo Manfredi, of Mantua, formerly a scholar of Roncalli, might be called a second Caravaggio, except that he was rather more refined in his composition. His works are seldom found in collections, although he painted for them, as he died young, and is often supplanted by his master, as I believe was the case with some pictures painted for the Casa Medicea, mentioned by Baglione.