In the beginning of the sixteenth century, whether it was that the troubled state of Italy called the attention of the princes to more serious objects, or from some other cause, I do not find any interesting records. About the middle of that century it is supposed that Antonio Parentani flourished, who at the Consolata painted within the chapter house a Paradise with numerous angels. I do not know his country, but he followed the Roman taste of that age, and in a certain way diminished it. At this period the books of the public Treasury stand in the place of history, and guide us to the knowledge of other artists. I am indebted for the information to the Baron Vernazza de Fresnois, secretary of state of his majesty, a gentleman not less rich in knowledge than obliging in communicating it. The before-mentioned books record a Valentin Lomellino da Raconigi; and after 1561, in which year he died, or relinquished his place, a Jacopo Argenta of Ferrara. Both the one and the other bore the title of painter to the duke; but the world cannot judge of their talents, as no work by them is known either in Turin or elsewhere; and it is probable they were rather illuminators than painters. A Giacomo Vighi is noticed by Malvasia and by Orlandi, who painted for the court of Turin about 1567, and was presented with the castle of Casal Burgone. The works of this painter too are unknown to the public; but not so the works of those who follow. Alessandro Ardente of Faenza, though some make him a Pisan, and others a Lucchese,[72] Giorgio Soleri of Alessandria, and Agosto Decio, a Milanese miniaturist before mentioned by me, painted the portrait of Charles Emanuel, duke of Savoy, for which all three are praised by Lomazzo in his treatise, at p. 435. The two first were also appointed painters to the court. They excelled in historical compositions as well as being celebrated portrait painters. By Alessandro we see in Turin at the Monte della Pietà the Fall of St. Paul, in a style that would lead us to believe he had studied in Rome. More of his works remain in Lucca; in one of which, a Baptism of Christ painted at S. Giovanni by this Ardente, the subject is treated in a highly original manner. (_Guida di Lucca_, p. 261.) In the neighbourhood also of that city are many of his works. The Sig. da Morrona also names him in the second volume of his _Pisa illustrata_, and informing us that he has not a sufficient account of him, concludes that he lived a long time out of Tuscany. I believe that he resided a considerable time in Piedmont, as I find some works by him out of Turin; as an Epiphany in Moncaliëri, inscribed with his name and the year 1592; and knowing further, that on his death, in 1595, a pension was assigned by the prince to his widow and sons; a proof in my mind that Ardente must have served the court many years.