On the 400th anniversary of his birth, the artist finally received the acknowledgement he merits; He was the subject, first, of a monographic volume[2] containing various essays dedicated to aspects of his brilliant sacred and profane production, both on canvas and in frescoes, and, subsequently, of an exhibition[3] organized by the Uffizi in his native town.
It however seems he was relatively successful, considering that the Commander of the Order of Malta and late patron of Caravaggio, Fra Francesco Dell'Antella, commissioned him in 1622 a number of works (now lost) for the church of San Leonardo in Grosseto.
In perfect harmony with the climate of fervent philosophical and moral debate practised by the local Academies, he owned a remarkable skill in rendering a captious symbolism in his figures.
His allegorical works are of rare elegance and refined formal nobility, having little to envy to the other representatives of the Florentine Seicento, such as Francesco Furini, Cesare Dandini and Lorenzo Lippi.
Most women protagonists in his paintings are illustrated with long and slender hands, slightly parted vermillion lips and the hair held in place by a ribbon, such as in the series of four Allegories dedicated to the Arts of the Quadrivium executed for the Rospigliosi family.