His fresco histories in the Casa Albergati are well deserving notice, as are those in the Alamandini and the Bigami families, with others produced in early youth. Impelled at length by the cares of an increasing family to look for greater profits, he gave way by degrees to his facility of hand, and formed a second style, which, owing to the indolence of human nature, obtained more disciples than his first. Gio. Gioseffo dal Sole, on the contrary, burned to become each day more perfect, and raised himself to one of the first posts among the artists of his age. He had constant commissions from noblemen, both native and foreign, and received invitations also from the courts of Poland and of England. For some time he preserved a style conforming to Pasinelli's; and in order to improve it from the same sources he frequently returned to Venice, though he never attained to that degree of beauty, in his more elegant subjects, that formed the boast of his master. In many particulars, however, he displays exquisite grace; as in the hair and plumes of the angels, and equally in the accessaries, such as the veils, bracelets, crowns, and armour. He seems to have been inclined also more than Pasinelli to treat powerful themes; more observant of costume, more methodical in composition, and more informed in point of architecture and landscape. In these indeed he is almost unique; and the most beautiful specimens, perhaps, are to be seen at the Casa Zappi in Imola, representing Evening, Night, and Morning, all very pleasingly distributed, and with sober tints, such as the subject required. His other works display, in most instances, the most lovely play of vivid fluctuating light, more especially in his holy pieces and celestial visions, as we see in the St. Peter of Alcantara, at S. Angiolo in Milan. Moreover, he was more exact and polished than Pasinelli; not that he was by any means deficient in celerity in conducting his works, but esteemed it unworthy of an upright character to confer upon them less perfection than he was capable of bestowing. Being employed at Verona for the noble family of Giusti, where he left several mythological pieces and scriptural histories, truly beautiful, he completed one of Bacchus and Ariadne, which artists pronounced excellent, within a week. Yet he cancelled almost the whole, to remodel it according to his own wish, declaring that it was enough to have shewn his rapidity of hand to satisfy others, but that it became his duty, by additional accuracy, to satisfy also himself. Hence his fresco at S. Biagio in Bologna, which is his greatest work, cost him an infinite deal of labour in its completion; and in conducting his altar-pieces, few and valuable, as well as in his private pictures, which are very numerous, he called for high remuneration, persevering in his determination to paint only with care. In this artist, as many others, two manners are observable, of which the second partakes of Guido Reni's.