Of his scholars, the one who followed him the closest was Orazio de' Ferrari, his countryman and kinsman. He painted well in fresco, but better in oil. We need only inspect the Last Supper in the oratory of S. Siro, to form a most favourable idea of this young artist. Giovacchino Assereto profited more from the design than the colour of Ansaldo; in general he attempted his chiaroscuro in the manner of Borzone, his first master, as in the picture of S. Rosario at S. Brigida. Giuseppe Badaracco was ambitious of introducing a new style into his native place, and repaired to Florence, where he remained many years copying and imitating Andrea del Sarto. He left many works there in private collections, and I imagine they are there still; but, as always happens to copyists and imitators, his name is never mentioned, and his works pass as belonging to the school of Andrea. In Genoa itself his name is almost lost. It is known that he in general painted for collections; but not for what houses. I found in the house of a gentleman of Novi an Achilles in Scyros, with the name of Badaracco, and with the date of 1654. In this work the artist seems to have forgotten Andrea, and to have followed the naturalists of his own country. There is no public work by him except a S. Philip, which is preserved in the sacristy of S. Niccolò in _Voltri_. To the foregoing masters we may add Gio. Batista Baiardo, of I know not what school, but certainly commendable for the talents displayed in his pictures at the portico of S. Pietro, and in the convent of S. Agostino, painted with vigour, freedom, and grace. The inferior works in that convent are certainly by another hand. Baiardo, Badaracco, Oderico, Primi, Gregorio de' Ferrari, and others in this school, were carried off by the plague in 1657. But we have now spoken sufficiently of the higher class of works, and shall here pass to those of another kind, completing the notices which we have occasionally interspersed before.