Though not often, he yet painted some few pictures of an extraordinary magnitude, as the S. Carlo in the church of that saint at the Corso, and the Baptism of Christ in the Certosa, copied in mosaic in the Basilica of S. Peter. His other pictures are for the most part on a smaller scale; many are in Rome, and amongst them the charming composition of S. Stanislaus Kostka, at the altar where his ashes repose; not a few others in other cities, as the S. Andrea Corsini in the chapel of that noble family in Florence, and the S. Francesco di Sales at the Filippini di Forli, which is one of his most studied works. He contributed largely, also, to the galleries of sovereigns and private individuals. There is not a considerable collection in Rome without a specimen of his pencil, particularly that of the Albani, to which family he was extremely attached. His works are frequently met with in the state. There is a valuable copy of the Battle of Constantine, in possession of the Mancinforti family in Ancona. It is related, that, being requested to copy that picture, he proposed the task to one of his best scholars, who disdained the commission. He therefore undertook the work himself, and on finishing it, took occasion to intimate to his pupils, that the copying such productions might not be without benefit to the most accomplished masters. He had a daughter whom he instructed in his own art; and her portrait, executed by herself, in a painting attitude, is to be seen in the Corsini gallery at Rome. Maratta, in his capacity of an instructor, is extolled by his biographer, Bellori (p. 208); but is by Pascoli accused of jealousy, and of having condemned a youth of the most promising talents in his school, Niccolo Berrettoni di Montefeltro, to the preparation of colours. This artist, however, from the principles which he imbibed from Cantarini, and from his imitation of Guido and Coreggio, formed for himself a mixed style, delicate, free, and unconstrained, and the more studied, as that study was concealed under the semblance of nature. He died young, leaving very few works behind him, almost all of which were engraved, in consequence of his high reputation. The Marriage of the Virgin Mary, which he executed for S. Lorenzo in Borgo, was engraved by Pier Santi Bartoli, a very distinguished engraver of those times, an excellent copyist, and himself a painter of some merit.[86] Another of his pictures, a Madonna, attended by saints at S. Maria di Monte Santo, and the lunettes of the same chapel, were engraved by Frezza. An account of this artist may be found in the Lettere Pitt. tom. v. p. 277.