On occasion of treating strong or tragic subjects, he did not shrink from the task; and although he had a real knowledge of the art, he conducted them without that extreme study of foreshortenings and naked parts, of which others make so lavish a display. He shewed noble clearness and decision, fine colouring, a grand spirit, enlivening them with light and graceful figures, more particularly of women. Such is the Slaughter of the Innocents, at the Bonfigliuoli palace, and the Fall of Christ, at the Certosini, a most imposing production, from the number, variety, and expression of the figures, whose pictoric fire surpasses all we could mention from the hand of Albani. He has left some cabinet pictures, always in good design, and mostly possessing soft and savoury tints; so that all we would farther look for is, occasionally, a more gradual distribution of tints in the background of his pieces. Among other pupils, he instructed Sebastiano Brunetti, polished by Guido, a sweet and delicate artist, but of brief career; and Antonio Randa of Bologna. Malvasia has observed, that there is little good to be said respecting him, apparently alluding to a deed of homicide committed by him at Bologna. In other respects, he includes him among the best pupils, first of Guido, next of Massari, to whose style he became attached. On account of his reputation the Duke of Modena granted him an asylum in his state, declaring him, according to Orlandi, his court-painter, in 1614. Here he was much employed, and subsequently at Ferrara, for the most part at S. Filippo; also in many places of the Polesine, where I find his Martyrdom of S. Cecilia, in possession of the Sign. Redetti, at Rovigo, the most celebrated of his productions. Finally, he betook himself to the cloister, a fact unnoticed by Malvasia, which might have induced him to speak of him in milder terms.