"The three masters whom I have just noticed in successive order, (Corenzio, Ribera, and Caracciolo) were the authors of the unceasing persecutions which many of the artists who had come to, or were invited to Naples, were for several years subjected to. Bellisario had established a supreme dominion, or rather a tyranny, over the Neapolitan painters, by calumny and insolence, as well as by his station. He monopolized all lucrative commissions to himself, and recommended, for the fulfilment of others, one or other of the numerous and inferior artists that were dependent on him. The Cav. Massimo Stanziozi, Santafede, and other artists of talent, if they did not defer to him, were careful not to offend him, as they knew him to be a man of a vindictive temper, treacherous, and capable of every violence, and who was known, through jealousy, to have administered poison to Luigi Roderigo, the most promising and the most amiable of his scholars. "Bellisario, in order to maintain himself in his assumed authority, endeavored to exclude all strangers who painted in fresco rather than in oil. Annibale Caracci arrived there in 1609, and was engaged to ornament the churches of Spirito Santo and Gesu Nuovo, for which, as a specimen of his style, he painted a small picture. The Greek and his adherents being required to give their opinion on this exquisite production, declared it to be tasteless, and decided that the painter of it did not possess talent for large compositions. This divine artist in consequence took his departure under a burning sun, for Rome, where he soon afterwards died. But the work in which strangers were the most opposed was the chapel of S. Gennaro, which a committee had assigned to the Cav. d'Arpino, as soon as he should finish painting the choir of the Certosa. Bellisorio, leaguing with Spagnoletto (like himself a fierce and ungovernable man) and with Caracciolo, who aspired to this commission, persecuted Cesari in such a manner, that before he had finished the choir he fled to Monte Cassino, and from thence returned to Rome. The work was then given to Guido, but after a short time two unknown persons assaulted the servant of that artist, and at the same time desired him to inform his master that he must prepare himself for death, or instantly quit Naples, with which latter mandate Guido immediately complied. Gessi, the scholar of Guido, was not however intimidated by this event, but applied for, and obtained the honorable commission, and came to Naples with two assistants, Gio. Batista Ruggieri and Lorenzo Menini. But these artists were scarcely arrived, when they were treacherously invited on board a galley, which immediately weighed anchor and carried them off, to the great dismay of their master, who although he made the most diligent inquiries both at Rome and Naples, could never procure any tidings of them.