To complete the list of the chief scholars of Barbalunga, I may mention here Bartolommeo Tricomi, who confined himself to portrait painting, and in this hereditary gift of the school of Domenichino, he greatly excelled. He had notwithstanding in Andrea Suppa a scholar who surpassed him. The latter learned also of Casembrot, as far as regards landscape and architecture; but he formed himself principally on the antique; and by constantly studying Raffaello and the Caracci, and other select masters, or their drawings, he acquired a most enchanting style of countenance, and indeed of every part of his composition. His works are as fine as miniature, and are perhaps too highly finished. His subjects, in unison with his genius, are of a pensive and melancholy cast, and are always treated in a pathetic manner. He excelled in frescos, and painted the vaults in the Suore in S. Paolo; he excelled equally in oils, as may be seen from the picture of S. Scolastica, there also. Some of his works were lost by earthquakes. His style was happily imitated by Antonio Bova, his scholar, and we may compare their works together at the Nunziata de' Teatini. He painted much in oil, as well as fresco, and from his placid and tranquil disposition, took no part in the revolutions of Messina, but remained at home, where he closed his days in peace, and with him expired the school of Barbalunga.] [Footnote 118: Pascoli, Vite, tom. i. p. 129.] [Footnote 119: I may insert at the close of this epoch the names of some Sicilian painters, who flourished in it, or at the beginning of the following, instructed by various masters. They were furnished to me by the Sig. Ansaldo, whose attentions I have before acknowledged, and were transmitted to him by a painter of that island. Filippo Tancredi was of Messina, but is not assigned to any of the before mentioned masters, as he studied in Naples and in Rome under Maratta. He was a skilful artist, composed and coloured well; was celebrated in Messina, and also in Palermo, where he lived many years, and where the vault of the church de' Teatini, and that also of the Gesù Nuovo were painted by him. The Cav. Pietro Novelli (or Morelli, which latter however I regard as an error) called Monrealese from his native place, also enjoyed the reputation of a good painter, and an able architect. He there left many works in oil and fresco, and the great picture of the Marriage at Cana, in the refectory of the P. P. Benedettini, is particularly commended. He resided for a long time in Palermo, and the greatest work he there executed, was in the church of the Conventuals, the vault of which was divided into compartments, and wholly painted by himself. Guarienti eulogises him for his style, as diligent in copying nature, correct in design, and graceful in his colouring, with some imitation of Spagnoletto; and the people of Palermo confer daily honour on him, since, whenever they meet with a foreigner of taste, they point out to