Returning to the scholars of Gio. Batista Paggi, one of them, who was himself the educator of a generous race to his country, was Gio. Domenico Cappellino. He had an extraordinary talent for imitation, whence, in his first works, he came very near his master. There was not in him that air of nobility that in Paggi and Bordone seems to have been derived from their birth and education. He possessed nevertheless other qualities of art which fail not to interest the spectator. This is evident in the Death of S. Francesco, placed in S. Niccolò; and at S. Stefano in the S. Francesca Romana, who to a dumb girl imparts the powers of speech. They are works which possess in the whole a peculiar originality, and in the separate figures a natural charm, and an expression of the affections and a delicacy of colouring highly attractive. He afterwards changed his style, as may be seen in two pictures of the Passion at S. Siro, and in many others at Genoa, always vigorous, but less spirited than at first, rather obscure in tints, and removed from the manner of Paggi. He aimed at originality, and, finding her, pursued her without a rival. He had the good fortune to be the instructor of a foreigner, one of those men of genius who in themselves illustrate a whole school. This artist was of the family of Pioli, which had already produced an excellent miniature painter called Gio. Gregorio, who died in Marseilles, and a Pier Francesco, a scholar of Sofonisba, who died young, with the reputation of being one of the best imitators of Cambiaso. Pellegro Piola, of whom we have now to treat, enjoyed a still shorter period of life, being assassinated at the age of twenty-three, by an unknown hand; and, as it is believed, through envy of his rare talents. It is not easy to describe very precisely the style of this young man; for, as a student, he studied all the best works and formed himself upon them, and willingly inclined to the more beautiful. He then tried a wider flight, and pursued it always with exquisite diligence, and a taste which charms us; and whatever style he adopted he seemed to have grown grey in it. A Madonna by him, which is now in the great collection of the Marchese Brignole, was considered by Franceschini an original of Andrea del Sarto. His S. Eligio, in the street of the goldsmiths, was by Mengs ascribed to Lodovico Caracci. He however aspired at something far beyond mere imitation, and said that he had a mental conception of the beautiful, which he did not despair to attain if his life should be spared. But he was prematurely cut off, as I have stated, and his works in consequence are very rarely met with.