Meanwhile Cignani's academy rose into notice, owing to its master's reputation, and among those who repaired thither from Ferrara were Maurelio Scannavini and Giacomo Parolini. Maurelio must be included among the few whose object was to emulate their master in that scrupulous exactness, which we noticed in its place. He was naturally slow, nor could he prevail on himself to despatch his work from the studio until he beheld it already complete in all its points. Though impelled by domestic penury to greater haste, he varied not his method; and, free from envy, beheld the rapidity of Avanzi, who abounded with commissions and money, whilst he and his family were destitute. The noble house of Bevilacqua assisted him much; and it redounds to its honour, that on remunerating him for some figures in an apartment where Aldrovandini had conducted the architecture, a very large sum was added to the price agreed upon. He produced few other pieces in fresco; a process that requires artists of more rapid hand. He painted more in oil; among the most esteemed of which is his S. Tommaso di Villanova, at the Agostiniani Scalzi; and at the church of the Mortara his St. Bridget in a swoon, supported by angels. The families of Bevilacqua, Calcagnini, Rondinelli, and Trotti, possess some of his pictures for private ornament; among which are portraits that display Maurelio's singular talent in this branch; and histories of half-length figures in the manner of Cignani. They exhibit gracefulness, union of colouring, and strength of tints, which leave him nothing to envy in the artists by whom he is surrounded, except their fortune.