I must now speak of another celebrated Ligurian, but neither a scholar of Paggi, nor of Sorri, nor indeed of any other considerable master, and almost self-instructed; for the elements of the art, which he learned from Orazio Cambiaso, a painter of mediocrity, could not carry him far. He was born in Voltri, his name Gio. Andrea Ansaldo. He is the only one of the school who contested precedency in perspective with Giulio Benso, by whom, in a quarrel, prompted by jealous feelings of his talents, he was wounded: an attempt which was repeated by an unknown hand, after an interval of some years. Near the choir of the Nunziata, painted by Benso, we behold the cupola of Ansaldo, injured by damp, yet notwithstanding remarkable for a most beautiful division and grandeur of the architecture, and for many figures which remain uninjured. When we survey this fine work, we cannot refuse to this artist a great talent for the decoration of cupolas, which may be esteemed the summit of the art of painting, as the colossal is of sculpture. His other works in fresco, in churches and in private houses, are very numerous; and he is particularly admired for his works in the palace Spinola at S. Pier d'Arena, where he has represented the military exploits in Flanders of the Marchese Federico, the boast of this family. Amongst his oil pictures a St. Thomas baptizing three Kings in a church, is celebrated. It is placed in the chapel of that saint, and exhibits much vigour of design, a brilliant decoration of scenery and persons, and a display of graceful and delightful harmony. Such is his prevailing character, which is in part his own, acquired by an unwearied application, and in part derived from the Venetians, and especially Paolo. Ansaldo is one of those masters who painted both much and well.