From the middle of the century to our own days, what from the evils of war in which Genoa was involved, and the general decline of the art in Italy, but few artists present themselves to our notice. Domenico Bocciardo of Finale, a scholar and follower of Morandi, possessed considerable merit in historical cabinet pictures; a painter of not much genius, but correct, and a beautiful colourist. At S. Paolo in Genoa there is by him a S. Giovanni baptizing the Multitude; and although there are many better pictures by him in the state, still this is sufficient to render him respectable. Francesco Campora, a native of Polcevera, also possessed some reputation. He had studied in Naples under Solimene, from whose school came also Gio. Stefano Maia, an excellent portrait painter. A Batista Chiappe of Novi, who had spent much time in Rome in drawing, and had become a good colourist in Milan, gave great promise of excellence. In the church of S. Ignazio of Alessandria there is a large picture of the patron saint, one of his best performances, well conceived and well composed; a noble ground, a beautiful choir of angels, a fine character in the principal figure, except that the head does not present a true portrait. We should have seen still better works, but the author was arrested in his career by death; and he is described by Ratti as the last person of merit of the Genoese School. This school was for some time scanty in good perspective painters. Although Padre Pozzi was in Genoa, he did not form any scholars there. Bologna, more than any other place, supplied him with them. From thence came Colonna and Mitelli, at that time so much esteemed; thither also repaired Aldovrandini and the two brothers Haffner, Henry and Antony. The latter joined the monks of the order of St. Philip in Genoa, and decorated the church of that saint and other places, and initiated in the profession Gio. Batista Revello, called Il Mustacchi. His works were also studied by Francesco Costa, who was an ornamental painter from the school of Gregorio de' Ferrari. These two young men, from the similarity of their profession, one which combines in itself the greatest rivalry and the greatest friendship, became in process of time inseparable. They both conjointly served, for nearly the space of twenty years, the various historical painters mentioned in this epoch, preparing for them the perspectives and ornaments, and whatever else the art required. They are both alike commended for their knowledge of perspective, their grace, brilliancy, and harmony of tints; but Revello, in the embellishment of flowers, is preferred to his companion. Their best performance is considered to be at Pegli, in the Palazzo Grillo, where they ornamented a saloon and some chambers. There are also many works which they conducted separately, being considered as the Colonna and Mitelli of their country.