Footnote 73: Tom. iv. p. 257. One truth prepares the way for another. I have read in Sig. Conca, tom. iii. p. 164, that the style of Arbasia partakes of that of Federigo Zuccaro; an opinion I believe of Sig. Ponz, the principal guide of Conca. If Federigo about the same time was chief, and Arbasia master in the academy of Rome, the style of the first might be caught by the other. When we reflect that the style of Da Vinci is highly finished, correct, and strong, diametrically opposed to the facility and popular style of Federigo, we cannot accord to Palomino that authority and veneration which Conca bestows on him. What should we think of a critic who should endeavour to palm on us, as the production of the time of Horace, an ode written in the style of Prudentius? There is ground for believing that Soleri, who was married in Vercelli, and who lived in Casale, had a share in the instruction of the celebrated Caccia, surnamed Il Moncalvo, who gave to Monferrato its brightest days of art. We may with propriety say a few words on this subject before we return to Turin. Monferrato was some time under the Paleologhi; afterwards under the Gonzaghi; this is a sufficient reason for us to believe that it was willingly frequented by excellent artists. Vasari relates that Gio. Francesco Carotto was considerably employed by Guglielmo, Marquis of Monferrato, as well in his court at Casale as in the church of S. Domenico. After him other artists of merit resorted thither, whose works still remain to the public. We further know that these princes had a collection of marbles and pictures, which were afterwards removed to Turin, where they contributed to the ornament of the palace and royal villas. After what we have stated we cannot be surprised that the arts should have flourished in this part of Italy and the adjacent country, and that we should there meet with painters deserving of our admiration.