There, his pictures of the Assumption and the Nuptials of Cana, at the Benedettini; the Pietà, and the S. John Beheaded, in that church; with the _Noli me tangere_, at S. Niccolo, are among the most celebrated; also at the Oratorio della Scala, his Pentecost, his Annunciation, and his Epiphany, conducted in competition with the Presentation of Annibal Caracci; of all which there are seen, on a small scale, a number of repetitions or copies in private houses. They are to be met with too at Rome, where Scarsellino's paintings are not rare. Some are at the Campidoglio, and at the palaces of the Albani, Borghesi, Corsini, and in greater number at the Lancellotti. I have sometimes examined them in company with professors who never ceased to extol them. They recognised various imitations of Paul Veronese in the inventions, and the copiousness; of Parmigianino in the lightness and grace of the figures: of Titian in the fleshes, and particularly in a Bacchanal in Casa Albani; of Dossi and Carpi in his strength of colour, in those fiery yellows, in those deep rose-colours, in that bright tinge given also to the clouds and to the air. What sufficiently distinguishes him too, are a few extremely graceful countenances, which he drew from two of his daughters; a light shading which envelopes the whole of his objects without obscuring them, and that slightness of design which borders almost on the dry, in opposition, perhaps, to that of Bastiano Filippi, sometimes reproached with exhibiting coarse and heavy features.