Yet this picture of the Scourging is in no way to be compared with the Communion of S. Jerome, or to the Martyrdom of S. Agnes, and other works, conducted in his riper years. The first of these is generally allowed to be the finest picture Rome can boast next to the Transfiguration of Raffaello; while the second was estimated by his rival Guido at ten times the merit of Raffaello's own pieces.[30] In these church paintings one great attraction consists in the glory of the angels, exquisitely beautiful in feature, full of lively action, and so introduced as to perform the most gracious offices in the piece; the crowning of martyrs, the bearing palms, the scattering of roses, weaving the mazy dance, and waking sweet melodies. In the attitudes we often trace the imitation of Coreggio; yet the forms are different, and for the most part have a flatness of the nose, which distinguishes them, and gives them an air of comeliness. Much, however, as Domenichino delighted in oil-painting, he is more soft and harmonious in his frescos; some of which are to be seen, besides those in Naples, at Fano, but the greatest part of them were destroyed by fire. They consist of scriptural histories in a chapel of the cathedral; of mythological incidents in villa Bracciano, at Frascati; the acts of S. Nilo, at Grotta Ferrata; and various sacred subjects interspersed through different churches at Rome. In the corbels of the cupolas at S. Carlo a' Catinari, and at S. Andrea della Valle, he painted, at the former, the four Virtues, at the latter, the four Evangelists, still regarded as models after innumerable similar productions. At S. Andrea also are seen various histories of that saint in the tribune, besides those of St. Cecilia, at S. Luigi; others at S. Silvestro, in the Quirinal of David, and other scriptural subjects, which in point of composition and taste of costume are by some esteemed superior to the rest. Footnote 30: The Cav. Puccini very justly condemns this opinion in his _Esame Critico del Webb_, p. 49.