This mistake is apt to be made in those compositions with few figures, rather than in his large histories. In the former his dignity of design is calculated to deceive us; as well as the conception and attitudes of his heads of men, the form and fulness, the fall and folding of the drapery, the choice and distribution of the colours, and the general tone which in some works, more correctly conducted, greatly resemble the Bolognese style. But in his compositions on a grand scale, he does not closely imitate the Caracci, always sparing in their figures, and anxious to make them conspicuous by a certain disposition peculiarly their own; but rather follows the Venetians, and adopts methods to multiply the personages on the scene. The grand Suppers which he painted (of a few of which we have engravings by Bolzoni) might be almost pronounced from the genius of Paul Veronese, so greatly do they abound with perspective, stages, and staircases; so thronged is every situation with actors and spectators. His Herod's Feast, at S. Benedetto, is much celebrated, as well as the Marriage of Cana, at the Certosini, at S. Maria in Vado, and other places in Ferrara, but, in particular, his Supper of Ahasuerus, in the refectory of the Canonici Regolari of S. Giovanni, at Ravenna. The canvass is large, as well as the vestibule which fills it, while the multitudes which there appear, thronged together, is excessive; guests, spectators, domestics, musical choirs and companies in the balconies, and in a recess, through which is seen the garden, appear other tables surrounded by guests, with so beautiful an illusion of aerial perspective, as at once to relieve and to gratify the eye with infinite variety. There is as much diversity also in the attitudes, novelty of drapery, richness of plate, &c., of which it seems impossible to finish the inspection. A few figures too are more studied, such as that of Ahasuerus, of the master of the feast, and of a kneeling page, in the act of presenting the royal crown to the king. To these add several of the singers, which rivet the eye by their respective dignity, vivacity, or grace. In no other work did Bonone succeed equally well in captivating others and in pleasing his own taste.