Whilst these two celebrated men thus promoted their profession, there was rising into notice one Agostino Mitelli, a youth of very prolific genius, not unacquainted with the figure, which Passeri supposes he acquired from the Caracci, and well-grounded in perspective and architecture, under Falcetta. When the two friends were engaged in decorating the archiepiscopal palace at Ravenna, and at the courts of Parma and Modena, Mitelli alternately assisted the figurist and the quadraturist. This last, however, was the art he most affected, and to which, on separating from his masters, he finally devoted himself. His first labours proved very attractive to the public; not that they equalled the force, solidity, and reality of Dentone, but on account of their peculiar grace and beauty, such as almost to obtain for him the fame of the Guido of the quadraturists. Employing his own taste, he softened down the harder features of the art, made the elevations more delicate, the tints more mild, and added a style of foliage, scrolls, and arabesques, decorated with gold, such as seemed to breathe of grace. The play of the ornaments varied with the nature of the edifices; some ideas were adapted to halls, some to churches, and others to theatres. Each ornament filled its appropriate place, at just intervals; the entire work finally according with a delightful symmetry and harmony, so as to take by surprise people not yet familiar with similar illusions, and to remind them, as it were, of the enchanted palaces of the romancers. Mitelli's first assistants were two of his fellow pupils in this art, Andrea Sighizzi and Gio. Paderna, with occasionally the figurist Ambrogi; names not unworthy of a place in the history of the arts, though unequal to compete with such a colleague.