A Pietro Paolo Raggi obtained also celebrity in invention and colouring. I know not to what school to assign him, but he was certainly a follower of the Caracci in a S. Bonaventura contemplating a Crucifix; a large picture in the Guastato. There are Bacchanal subjects by him in some collections, which partake of the style of Castiglione, as Ratti has observed, and also of that of Carpioni, as we read in one of the _Lettere Pittoriche_, inserted in the fifth volume. We there find him highly extolled. Nor is he any where better known than in Bergamo; where, amongst other works which he executed for the church of St. Martha, a Magdalen borne to Heaven by Angels is particularly esteemed. He is described as a man of a restless disposition, irascible, and dissatisfied with every place he inhabited. This truant disposition carried him to Turin, then to Savona, then afresh to Genoa, now to Lavagna, now to Lombardy, and last to Bergamo, where death put an end to his wanderings. About this time died in Finale, his native place, Pier Lorenzo Spoleti, formerly a scholar of Domenico Piola. His favourite occupation was to copy in Madrid the pictures of Morillo and Titian. By this practice he was prevented from distinguishing himself by any works of invention; but he became a very accomplished portrait painter, and was employed in that branch of the art at the courts of Spain and Portugal. He had also the habit of copying the compositions of others, and of transferring them with remarkable ability from the engraving to the canvass, enlarging the proportions and expressing them with a colouring worthy of his great originals. A copyist like this painter has a better claim to our regard than many masters, whose original designs serve only to remind us of our ill fortune in meeting with them. Among these native artists I may be allowed to commemorate two foreigners, who came to Genoa and established themselves there, and succeeded to the chief artists of this epoch, or were their competitors. The one was Jacopo Boni of Bologna, who was carried to Genoa by his master Franceschini as an assistant, when he painted the great hall of the Palazzo Publico. Boni from that time was esteemed and employed there, and established himself there in 1726. There are some fine works by him, especially in fresco, in the Palazzo Mari and in many others; and the most remarkable which he executed in the state is in the oratory of the Costa, at S. Remo: but we have spoken sufficiently of him in the third Book.