Subsequently he became expert in foreshortening, and all the intricacies of the art, more particularly in point of invention. There is scarcely one of his works to be met with, that does not exhibit a certain air of novelty and originality of idea. On occasion of representing the Virgin in grief, in the church of S. Benedict, he drew her seated together with St. John and the Magdalen; the one upright, the other kneeling, in the act of contemplating the Redeemer's crown of thorns. Other incidents of his passion also are alluded to; all are silent indeed, but every eye and attitude is eloquent in its silence. Obtaining a commission for an altar-piece in S. Maria Maggiore, to represent St. John and St. Jerome, he shunned the trite expression of drawing them in a glory; but he feigned an apparition, through which the holy doctor, while intent at his studies, appears to receive from the beatified evangelist lectures in theology. His most distinguished production, however, is at S. Domenico, the saint seen raising a man from the dead; a picture abounding with figures varied in point of feature, attitude, and dress; every thing highly select. Lodovico expressed his astonishment at it, and declared that he knew of no master then to compare with Tiarini. It is true that, in this instance, having to compete with Spada, he raised his tone of colouring, and shunned every common form; two precautions which, had he introduced into every work, would have left him perhaps second to none of the Bolognese. He survived until his ninetieth year, and during a long period dwelt at Reggio, whence he had often occasion to proceed to other cities of Lombardy, which preserve many of his altar-pieces, and cabinet pictures. The Modenese gallery abounds with them, his St. Peter being more particularly extolled, seen struck with remorse as he stands outside the prætorium. The architecture, the depth of night lighted up with torches, Christ's judgment beheld in the distance, all conspire to raise the tragic interest of the scene. He was employed also by the Duke of Parma, for whose garden he painted some incidents from the Jerusalem Delivered, conducted in fresco; but which, though much extolled, are no longer met with. In short Tiarini was one of the most eminent artists next to the Caracci, at least in point of composition, expression of features and of the passions, perspective, power and durability of colouring, if not of the most exact elegance.