Of his scholars, Giacomo Farelli was the most successful, who by his vigorous talents, and by the assistance of his master, painted a picture in competition with Giordano. The church of S. Brigida has a beautiful picture of that saint by Farelli, and its author is mentioned by Matteis as a painter of singular merit. He declined however, in public esteem, from wishing at an advanced age to change his style, when he painted the sacristy of the Tesoro. He was on that occasion anxious to imitate Domenichino, but he did not succeed in his attempt, and indeed he never afterwards executed any work of merit. Nor did Domenichino fail to have among the painters of Naples, or of that state, many deserving followers.[116] Cozza, a Calabrian, who lived in Rome, I included in that school, as also Antonio Ricci, called il Barbalunga, who was of Messina, and well known in Rome. I may add, that he returned to Messina, and ornamented that city with many works; as at S. Gregorio, the saint writing; the Ascension at S. Michele; two Pietàs of different designs at S. Niccolo and the Spedale. He is considered as one of the best painters of Sicily, where good artists have abounded more than is generally imagined. He formed a school there and left several scholars.[117] I ought after him to mention another Sicilian, Pietro del Po da Palermo, a good engraver, and better known in Rome in that capacity, than as a painter. There is a S. Leone by him at the church of the Madonna di Costantinopoli; an altarpiece which however does not do him so much honour as the pictures which he painted for collections, some of which are in Spain; and particularly some small pictures which he executed in the manner of miniatures with exquisite taste. Two of this kind I saw in Piacenza, at the Sig. della Missione, a Decollation of S. John, and a Crucifixion of S. Peter in his best manner, and with his name. This artist, after working in Rome, settled in Naples with a son of the name of Giacomo, who had been instructed in the art by Poussin and himself. He also taught a daughter of the name of Teresa, who was skilled in miniatures. The two Pos were well acquainted with the principles of the art, and had taught in the academy of Rome. But the father painted little in Naples; the son found constant employ in ornamenting the halls and galleries of the nobility with frescos. His intimacy with letters aided the poetic taste with which his pictures were conceived, and his varied and enchanting colours fascinated the eye of every spectator. He was singular and original in his lights, and their various gradations and reflections. In his figures and drapery he became, as is generally the case with the machinists, mannered and less correct; nor has he any claim as an imitator of Domenichino, except from the early instructions of his father. In Rome there are two paintings by him, one at S. Angiolo in Pescheria, the other at S. Marta; and there are some in Naples; but