The most famous work Caro produced for the Accademia dei Virtuosi was the Commentary by Ser Agresto da Ficaruolo on the First Ficata of Father Siceo, a chapter incredibly sloppy and obvious in its lewd allusions by Francesco Maria Molza. One need only read the warning Barbagrigia (Antonio Blado) prefaced Caro's commentary to understand how the work reflects an attempt to simultaneously restore and marginalize Berni's experience. The operetta's most interesting aspects are offered by some disproportionately erudite digressions that recall Berni's predilection for "antiques," and by a certain skill as a sketcher that is quite successfully displayed in the portraits of the pedant, Molza, and "ser Cecco" Benci; At times the commentary stumbles upon characters whose names reveal a voluptuous and unspeakable habit (Ciacco Compoppista, Leccardo Grufoloni); at other times the explanation of a term gives rise to variations of this kind, authorized by a notable analogical wisdom.