The most remarkable in this band are the sons of three celebrated masters; Andrea Carlone, Paolgirolamo Piola, and Domenico Parodi. The first was son of Giambatista, from whose style and that of Rome, and afterwards from that of Venice, he formed a mixed manner, which, if I mistake not, is more pleasing in oil than in fresco. He painted much in Perugia and the neighbouring cities; far from the finish and grace of his father, and less happy in composition; but displaying a Venetian style of freedom, vigour, and spirit; particularly in some histories of S. Feliciano, painted at Foligno, in the church of that saint. Returning to Rome, he improved his manner; and his works after that period are much his best. Such are some passages from the life of S. Xavier, at the Gesù in Rome; and many poetical subjects at Genoa, in the palaces Brignole, Saluzzo, and Durazzo. This painter affords an excellent admonition to writers on art, not to form their judgment too hastily on the merit of artists, without having first seen their best productions. Whoever judged of Carlone from the picture he painted at the Gesù in Perugia, would not persuade himself that he could, in Genoa, have left so many fine works as to be ranked, according to Ratti, among the painters of Genoa most worthy of commemoration. Niccolò, his brother, may be also added as his scholar. He is the least celebrated of the family; not that he wanted talent, but it was not of a transcendant kind. Piola, the son of Domenico, as I have noticed in a former place, is one of the most cultivated and finished painters of this school; a true disciple of Maratta, as regards his method of carefully studying and deliberately executing his works, but otherwise not his close imitator. In this respect it should seem he attached himself more to the Caracci, whom he very much copied in Rome; and traces of this style may be seen in his beautiful picture of S. Domenico and Ignazio, in the church of Carignano, and in every place where he painted. It is known that he was rebuked by his father for slowness; but by this he was not moved; intent on a more exalted walk than his father, and exhibiting more selection, grandeur, tenderness, and truth. He had singular merit in works in fresco; and being a man of letters, he designed extremely well fables and historical subjects, in decorating many noblemen's houses. His Parnassus, painted for Sig. Gio. Filippo Durazzo, has been much praised; and it is added, that that nobleman said, that he was glad he had not sent for Solimene from Naples, whilst Genoa possessed such an artist. Had he painted less on walls and more on canvass, his merit would have become known also to foreigners.