The rarity of the productions of Pellegro was compensated for by a brother, who filled the city and the state with his works. This was Domenico Piola, a scholar of Pellegro and Cappellini, the associate of Valerio Castelli in many works, and for some time an imitator of that master, afterwards of Castiglione; and, finally, the founder of a style bordering on that of Cortona. There is not in it a sufficient contrast; the forms are various, ideal for the most part, nor without beauty; the chiaroscuro is generally little finished; the design partakes of the Roman. There is, however, a considerable resemblance to Pietro in the distribution of the colours, and in his facility and despatch. He had a singular talent for the representation of children, and he refined it by the imitation of Fiammingo. He enlivened every composition by their introduction, and in some palaces he interwove them in elegant friezes. From this soft and easy manner, examples of which are to be met with in every part of the Genoese territories, he could occasionally depart, as in the picture of the Miracle of St. Peter at the Beautiful Gate of the Temple, painted at Carignano, where the architecture, the fleshes, the gestures, are highly studied; and there is a force of effect which seems to emulate the Guercino, which is opposed to it. He also departs from his ordinary style in the Repose of the Holy Family at the Gesù. Of three sons whom Domenico instructed, Paolo will be mentioned among the most excellent artists of a future epoch; Antonio commendably followed his father's style in his youth, but afterwards changed his profession. Gio. Batista could copy or follow the designs of others, but nothing beyond. This latter had a son, Domenico, who, whilst he was beginning to emulate the glory of his family, was cut off by death, and with him was extinguished a family which, for the course of nearly two centuries, had conferred honour on the profession. Giulio Benso, the scholar of Paggi, excelled all his school in architecture and perspective. Genoa, perhaps, does not possess any work in this department superior to that of Benso in the Nunziata del Guastato; in the choir of which he represented one of those perspective pictures with balustrades and colonnades, in which Colonna and Mitelli so much excelled. These two artists were great admirers of this work of Giulio, but to us it may perhaps appear too much loaded with ornament. He there represented the Glorification of the Virgin, and added some histories, in which he rigorously observed the laws of the _sotto in su_; an art then little practised in his school. Giovanni and Batista Carloni, who painted so much in this church, are surpassed by him in this department; nor do they much exceed him in composition and colour. Benso left but few oil paintings in Genoa; that of S. Domenico in the church of that saint is one of the best, and partakes more of the School of Bologna than that of Genoa.