ò ▁produced ▁in ▁Nap les ▁include ▁twelve ▁paint ings ▁with ▁the ▁scene ▁from ▁the ▁Pass ion ▁of ▁Christ ▁and ▁several ▁fres co es , ▁now ▁destroyed , ▁representing ▁the ▁Res urre ction , ▁Pent ec ost , ▁and ▁Ass umption , ▁all ▁painted ▁for ▁the ▁church ▁of ▁Santa ▁Barbara ▁in ▁Cast el ▁Nu ovo . ▁Pietro ▁painted ▁primarily ▁religious ▁subjects , ▁and ▁less ▁frequently , ▁prof ane ▁historical ▁and ▁myth ological ▁them es . ▁His ▁compos itions ▁and ▁his ▁female ▁figure ▁types ▁reve al ▁the ▁influence ▁of ▁D omen ich ino ’ s ▁classic ism ▁and ▁of ▁Bolog n ese ▁art , ▁and ▁the ▁influence ▁of ▁Charles ▁M ell in , ▁with ▁whom ▁Del ▁P ò ▁was ▁in ▁close ▁contact , ▁has ▁been ▁recently ▁noted . ▁Sch ol ars ▁point ▁out ▁Pietro ’ s ▁precise ▁and ▁detailed ▁ability ▁as ▁a ▁draft s man ▁more ▁often ▁than ▁his ▁ability ▁as ▁a ▁color ist , ▁and ▁in ▁fact ▁he ▁appears ▁to ▁have ▁remained ▁tied ▁to ▁his ▁early ▁classical ▁training ▁without ▁respond ing ▁to ▁the ▁new ▁tr ends ▁in ▁the ▁Roman ▁Bar o que . ▁ ▁He ▁perhaps ▁att ained ▁his ▁most ▁original ▁results ▁as ▁a ▁draft s man , ▁but ▁his ▁activity ▁in ▁this ▁field ▁is ▁difficult ▁to ▁define . ▁It ▁seems ▁that ▁Pietro ▁considered ▁drawing ▁an ▁independent ▁art ▁and ▁not ▁merely ▁a ▁pre lim inary ▁stage ▁for ▁et ch ings . ▁However , ▁only ▁after ▁the ▁many ▁anonymous ▁draw ings ▁and ▁those ▁dub iously ▁attributed ▁to ▁D omen ich ino ▁and ▁others ▁in ▁the