The three Parmesan painters – Giovanni Lanfranco, Sisto Badalocchio and Luigi Amidani – whose training was influenced by the artistic achievements of the Carracci, were linked to the Farnese court. The painting depicting the St. Octavius’s Martyrdom, painted by Lanfranco for the Baptistery of Parma on his return from Rome, shows in the diagonal composition of the saint in armour and in the strong backlit effect, interrupted by sudden flashes, a totally Baroque style, featured also in the Ascent to Calvary. Paradise, a work of great visual impact, boasts a spiral composition reminiscent, also in its colours, of the illusionistic effects of Correggio’s domes. The paintings of Luigi Amidani, whose short career was spent between Emilia and Lombardy, reveal an artist inspired by the works of Schedoni, but with his own expressive language, featuring soft light transitions, less vivid colours and more rounded drapery. The works of Sisto Badalocchio, an artist from Parma, are the fruit of a progressive overlapping of models taken from Correggio, Carracci and Schedoni: in St Francis of Assisi receives the stigmata, the sober and intensely expressive approach contrasts with the sudden light of the miraculous event, the figures of the putti and the peaceful bucolic landscape in the distance. The Madonna and Child with St Euphemia and Dominican Saints and the Madonna and Child with St Matthias and St Francis, on the other hand, echo the more modern style of Lanfranco and Bartolomeo Schedoni, particularly in the vivid colours and transparent shadows, while the later Deposition shows the dramatic contrast of light and shadow typical of Caravaggio. The strong relations between Parma and Lombardy typical of this period are borne out by the Marriage of the Virgin by Giulio Procaccini for the Basilica della Steccata, with its striking contrast between the silvery light illuminating the figures and the darkness of the Temple.