Solimene instilled his own principles into the minds of his disciples, who formed a numerous school, which extended even beyond the kingdom of Naples, about the beginning of the eighteenth century. Among those who remained in Naples, was Ferdinando Sanfelice, lately noticed by us, a nobleman of Naples, who put himself under the instructions of Francesco, and became as it were the arbiter of his wishes. As the master could not execute all the commissions which crowded on him from every quarter, the surest mode to engage him was to solicit him through Sanfelice, to whom alone he could not deny any request. By the assistance of Solimene, Sanfelice attained a name among historical painters, and painted altarpieces for several churches. He took great delight in fruit, landscapes, and views, in which he particularly excelled, and had also the reputation of an eminent architect. But perhaps none of the disciples of Solimene approached nearer to the fame of their master than Francesco de Mura, called Franceschiello. He was a Neapolitan by birth, and contributed much to the decoration of his native city, both in public and private. Perhaps no work on the whole procured him a greater degree of celebrity than the frescos painted in various chambers of the Royal Palace of Turin, where he competed with Beaumont, who was then in the height of his reputation. He there ornamented the ceilings of some of the rooms which contain the Flemish pictures. The subjects which he chose, and treated with much grace, were the Olympic Games, and the Deeds of Achilles. In other parts of the palace he also executed various works. Another artist, who was held in consideration, was Andrea dell'Asta, who after being instructed by Solimene, went to finish his studies in Rome, and engrafted on his native style some imitation of Raffaello and the antique. We may enumerate among his principal works, the two large pictures of the Nativity, and the Epiphany of Christ, which he painted in Naples for the church of S. Agostino de' P. P. Scalzi. Niccolo Maria Rossi was also reputably employed in the churches of Naples, and in the court itself. Scipione Cappella excelled all the scholars of Solimene in copying his pictures, which were sometimes touched by the master and passed for originals. Giuseppe Bonito had a good invention, and was a distinguished portrait painter, and was considered one of the best imitators of Solimene. He was at the time of his death painter to the court of Naples. Conca and he excel their fellow disciples in the selection of their forms. Other scholars in Naples and Sicily,[124] less known to me, will be found in the history of painting in Naples, which has been recently published by the accomplished Sig. Pietro Signorelli, a work which I have not in my possession, but which is cited by me, as is the case with several more, on the authority of others.