His studies rendered him superior to Caravaggio in invention, selection, and design. In emulation of him, he painted at the Certosini that great Deposition from the Cross, which alone, in the opinion of Giordano, is sufficient to form a great painter, and may compete with the works of the brightest luminaries of the art. Beautiful beyond his usual style, and almost Titianesque, is his Martyrdom of S. Januarius, painted in the Royal Chapel, and the S. Jerome at the Trinità. He was much attached to the representation of the latter saint, and whole lengths and half figures of him are found in many collections. In the Panfili Palace in Rome we find about five, and all differing. Nor are his other pictures of similar character rare, as anchorets, prophets, apostles, which exhibit a strong expression of bone and muscle, and a gravity of character, in general copied from nature. In the same taste are commonly his profane pictures, where he is fond of representing old men and philosophers, as the Democritus and the Heraclitus, which Sig. March. Girolamo Durazzo had in his collection, and which are quite in the manner of Caravaggio. In his selection of subjects the most revolting were to him the most inviting, as sanguinary executions, horrid punishments, and lingering torments; among which is celebrated his Ixion on the wheel, in the palace of Buon Ritiro at Madrid. His works are very numerous, particularly in Italy and Spain. His scholars flourished chiefly at a lower period of art, where they will be noticed towards the conclusion of this epoch. With them we shall name those few who rivalled him successfully in figures and half figures; and we must not, at the same time, neglect to impress on the mind of the reader, that among so many reputed pictures of Spagnoletto found in collections, we may rest assured that they are in great part not justly entitled to his name, and ought to be ascribed to his scholars.