On the death of Paggi, Fiasella became the principal instructor in Genoa, and I shall mention his most conspicuous scholars. We may commence with his relative, Gio. Batista Casone, changed by Orlandi into Carlone, who did not paint much in Genoa. If we may judge from the altar-piece delle Vigne, representing the Virgin surrounded by saints, he retained the style of Fiasella, the colouring of which he endeavoured to invigorate. Gio. Paol Oderico, a noble Genoese, painted always with great care, was select in his forms, and possessed a strong and rich colouring. The PP. Scolopi have a picture by him of the S. Angiolo Custode, the work of a young hand, but bearing promise of great talents. His historical compositions are also to be found in galleries, but they are rare, according to Soprani, and placed among the most precious possessions. His portraits are not of such rare occurrence, and in these he displayed great talents, and had numerous commissions. We find but few public works of Francesco Capuro, in consequence of his being engaged by the court and individuals in Modena, where he passed a great part of his life, at a distance from his own country. He was among the stricter followers of Fiasella in regard to design and composition, but in his colouring he partakes of Spagnoletto, under whom he studied in Naples; and in the style of that painter he executed some pictures of half-size, which probably procured him his highest reputation. We have still fewer public works by the young Luca Saltarello; but a S. Benedetto, in the church of S. Stefano, in the act of restoring a dead person to life, a picture of sober colouring, beautifully harmonized, and full of expression and knowledge, sufficiently denotes his early maturity, and his capacity, if he had lived, of forming an epoch in his school. Being desirous of adding to his other accomplishments the advantages to be derived from the ancient marbles, he repaired to Rome, and died there through excess of study.