This is also a recent addition to the house of Savoy, which first possessed it in 1706; but it is anterior to the other acquisitions, and its artists are scarcely ever named among the pupils of the Milanese School. We must also recollect that they either left many works in Piedmont, and that this is therefore the proper place to mention them, or that they did not quit their native country; and as it is impracticable to devote a separate book to that place, I have judged it best to include it in this state, on the confines of which it is situated, and to which it eventually became subject. Confining ourselves therefore to the ancient state of Piedmont, and noticing also Savoy, and other neighbouring territories not yet considered, we shall find little written of,[71] nor have we much to praise in the artists; but the ruling family, who have been always distinguished by their love of the arts, and have used all their influence to foster them, are entitled to our grateful recollections. At the time of their first revival Amadeus IV. invited to his court one Giorgio da Firenze, a scholar, I know not whether of Giotto or some other master: it is however certain that he painted in the castle of Chambery in 1314, and we find remains of him to 1325, in which year he worked at Pinarolo. That he from this time coloured in oil is doubted in Piedmont; and the Giornale of Pisa published a letter on that subject the last year. I know not that I can add any thing further to what I have already written on this question in many places of this work. Giorgio da Firenze is unknown in his native place, like some others who are commemorated only in this book, who lived much in Piedmont, or at least were better known there than elsewhere. In the same age there worked at S. Francesco di Chieri, quite in the Florentine style, an artist who subscribed himself _Johannes pintor pinxit_ 1343; and some feeble fresco painters in the baptistery of the same city. There are also some other anonymous artists in other parts, whose manners differ in some respects from the style of Giotto; among whom I may mention the painter of the Consolata, a picture of the Virgin held in great veneration at Turin. Footnote 71: A catalogue of the painters of Piedmont, and their works, is given by the Count Durando in the notes to his _Ragionamento su le belle Arti_, published in 1778. The P. M. della Valle has also written of them in his prefaces to the tenth and eleventh volumes of Vasari. Some valuable information respecting them has also been contributed by the author of the _Notizie patrie_, and more is to be found in the New Guide of Turin of Sig. Derossi, and in the first volume of the _Pitture d'Italia_. And, lastly, further notices are to be gathered from various works on art, of which we shall avail ourselves in the proper place.