Roman Baroque. He perhaps attained his most original results as a draftsman, but his activity in this field is difficult to define. It seems that Pietro considered drawing an independent art and not merely a preliminary stage for etchings. However, only after the many anonymous drawings and those dubiously attributed to Domenichino and others in the circle have been correctly attributed, will it be possible to assess his skill in this area. Artistic assessment Del Pò is best known as an etcher who reproduced the paintings of the most important seventeenth-century artists. His choice of subjects reveals a preference for classical themes, and he reproduced primarily the works of Domenichino, Nicolas Poussin, Lanfranco and the Carracci. In addition, requests for his etchings came from abroad, as evidenced by several prints published in Paris by Bertrand and Coypel. Led by Bartsch, most scholars discuss Del Pò’s work favourably and point out his talent as a draftsman. Although the artist often retouched selected details of his etchings with burin, the different states do not reveal outstanding variations, and often the only changed are made by the publishers who added their addresses, dedications, or other modifications to the plates. List of prints Among his prints are: St. John in the Wilderness after Annibale Carracci The Lamentation of the Virgin with two Angels after Annibale Carracci The Birth of the Virgin The Nativity The Adoration of the Shepherds The Presentation in the Temple The Baptism of Christ The Crown of Thorns The Lamentation of the Virgin and St John Noli Me Tangere St Andrew The Benedict Praying in the Desert The Virgin Appearing to St Frances of Rome Woman of Canaan before Christ after the same. Virgin seated on a Throne with the Infant, and a choir of Angels after Domenichino. The four Cardinal Virtues, with their attributes after the same. St. Jerome kneeling with an Angel after the same. The Annunciation after Nicolas Poussin. The Flight into Egypt after the same. Scholarship on Del Pò The artistic personality of Pietro Del Pò has been defined only partially by the research of U. Prota-Giurleo and A. Perez Sanchez. These two scholars clarified and corrected the general and often imprecise scholarship of De Dominici and Pascoli. References The Illustrated Bartsch, 45 Commentary (Le Peintre-Graveur 20 [Part 2]), Italian Masters of the Seventeenth Century, Edited by Paolo Bellini and Richard W. Wallace, (Texts for P. Del