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| Scarsellino (Ippolito Scarsella) Adoration of the Magi ca. 1575-80 oil on canvas Pinacoteca Capitolina, Rome |
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| Scarsellino (Ippolito Scarsella) Salmacis and Hermaphroditus ca. 1585 oil on panel Galleria Borghese, Rome |
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| Scarsellino (Ippolito Scarsella) Christ and St Peter at the Sea of Galilee ca. 1585-90 oil on canvas Harvard Art Museums |
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| Scarsellino (Ippolito Scarsella) Baptism of Christ ca. 1585-90 oil on panel Pinacoteca Capitolina, Rome |
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| Scarsellino (Ippolito Scarsella) Virgin and Child with young St John the Baptist ca. 1590 oil on canvas Gemäldegalerie, Berlin |
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| Scarsellino (Ippolito Scarsella) Conversion of St Paul ca. 1590-95 oil on panel Pinacoteca Capitolina, Rome |
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| Scarsellino (Ippolito Scarsella) Personification of Fame ca. 1591-93 oil on canvas Galleria Estense, Modena |
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| Scarsellino (Ippolito Scarsella) Martyrdom of St Venantius of Camerino ca. 1595-1605 oil on canvas Museum of Fine Arts, Houston |
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| Scarsellino (Ippolito Scarsella) Massacre of the Innocents ca. 1600-1610 oil on canvas Musée des Beaux-Arts de Nîmes |
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| Scarsellino (Ippolito Scarsella) The Fall of Man 1607 oil on canvas Galleria Estense, Modena |
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| Scarsellino (Ippolito Scarsella) St Laurence and St Francis with Donor ca. 1610-15 oil on canvas Cattedrale di San Giorgio Martire, Ferrara |
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| Scarsellino (Ippolito Scarsella) The Discovery of Coral before 1620 oil on copper private collection |
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| Scarsellino (Ippolito Scarsella) Noli me tangere before 1620 oil on canvas Palazzo dei Diamanti, Ferrara |
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| Scarsellino (Ippolito Scarsella) Virgin and Child with the Magdalene, St Peter, St Clare, St Francis and an Abbess before 1620 oil on canvas Museum of Fine Arts, Houston |
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| Scarsellino (Ippolito Scarsella) St Catherine among the Philosophers before 1620 oil on canvas Nationalmuseum, Stockholm |
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| Scarsellino (Ippolito Scarsella) St Demetrius before 1620 oil on canvas Museum of Fine Arts, Boston |
"By now, a great many people were walking towards the fireworks but their steps fell so softly and they chatted in such gentle voices there was no more noise than a warm, continual, murmurous humming, the cosy sound of shared happiness, and the night filled with a muted, bourgeois yet authentic magic. Above our heads, the fireworks hung dissolving earrings on the night. Soon we lay down in a stubbled field to watch the fireworks. But, as I expected, he very quickly grew restive. 'Are you happy?' he asked. 'Are you sure you're happy?' I was watching the fireworks and did not reply at first although I knew how bored he was and, if he was himself enjoying anything, it was only the idea of my pleasure – or, rather, the idea that he enjoyed my pleasure, since this would be a proof of love. I became guilty and suggested we return to the heart of the city. We fought a silent battle of self-abnegation and I won it, for I had the stronger character. Yet the last thing in the world that I wanted was to leave the scintillating river and the gentle crowd. But I knew his real desire was to return and so return we did, although I do not know if it was worth my small victory of selflessness to bear his remorse at cutting short my pleasure, even if to engineer this remorse had, at some subterranean level, been the whole object of the outing."
– Angela Carter, from A Souvenir of Japan, published in Fireworks: Nine Profane Pieces (London: Quartet, 1974)