painter and, like his sister Teresa, a member of the Academy of St. Luke. A. Bertolotti published an undated document belonging certainly to Del Pò’s Roman period, which represents Del Pò’s plea to the governor of Rome to absolve him of the accusations of cannibalism and silver theft from the church of Saint Peter's Basilica. These accusations were made by his creditors and damaged his reputation and his business. According to Pascoli, Pietro succeeded in the Roman artistic environment, primarily because of the esteem and patronage of several influential Spaniards, including the ambassador, who recommended Del Pò to his successor when he returned to Spain. Second period in Naples In March 1683 the painter and his family returned to Naples and remained there until Pietro’s death on 22 July 1692, with the exception of a brief stay in Palermo. The artistic production of Pietro del Pò was probably vast, but it is difficult today for us to compile his catalogue. The sources mention numerous works without, however, supplying further information. Perez Sanchez attempted an initial catalogue, which remains the primary source for the artist. Sixteen small paintings on copper illustrating scenes from the life of the Virgin, now in the cathedral of Toledo, are among his most notable works. Two paintings, “Saint Leocadia” and “Saint Ildelfonso” and a third entitled “The Virgin Adored by the Regents of Spain with Saints Michael and Santiago” are also in the cathedral of Toledo. However, the painting most frequently mentioned in the sources, “Saint Leo,” executed for the church of Santa Maria di Constantinopoli in Rome, where it remained until 1700, is now lost. The works that Del Pò produced in Naples include twelve paintings with the scene from the Passion of Christ and several frescoes, now destroyed, representing the Resurrection, Pentecost, and Assumption, all painted for the church of Santa Barbara in Castel Nuovo. Pietro painted primarily religious subjects, and less frequently, profane historical and mythological themes. His compositions and his female figure types reveal the influence of Domenichino’s classicism and of Bolognese art, and the influence of Charles Mellin, with whom Del Pò was in close contact, has been recently noted. Scholars point out Pietro’s precise and detailed ability as a draftsman more often than his ability as a colorist, and in fact he appears to have remained tied to his early classical training without responding to the new trends in the