The two side pictures are also highly celebrated, both in Cremona and abroad. One of these represents the Raising of Lazarus, the other the Woman taken in Adultery, both surrounded with very elegant ornaments, representing groups of cherubs, which are seen in the act of playing with the mitre, the censer, and other holy vessels in their hands. In these histories, as well as in their decorations, the whole of the figures are arranged and turned in such a way, as scarcely to leave a single eye in the figures visible, a novelty in respect to drawing by no means to be recommended. But Camillo was desirous of thus proving to his rivals that his figures were not, as they asserted, indebted for their merit to the animated expression of the eyes, but to the whole composition. And truly in whatever way disposed, they do not fail to please from the excellence of the design, their fine and varied attitudes, the foreshortening, the natural colouring, and a strength of chiaroscuro which must have been drawn from Pordenone, and which makes the surrounding paintings of the Campi appear deficient in relief. Had he exhibited a little more choice in his heads of adults, with a little more regularity in his composition, there would, perhaps, have been nothing farther to desire. We may, moreover, mention his painting on a façade in one of the squares of Cremona, where, not long ago, were to be seen the remains of figures which Camillo executed so as to excite the admiration of Charles V. and obtain the highest commendations. There remain likewise two of his altar-pieces, one at Cistello and the other at S. Bartolommeo, both extremely beautiful.