Such an one was Moncalvo, so called from his long residence in that place. He was however born in Montabone, and his true name was Guglielmo Caccia. No name is more frequently heard by cultivated foreigners who pass through this higher part of Italy. He commenced his career in Milan, where he painted in several churches. He proceeded afterwards to Pavia, where he did the same, and where he was presented with the freedom of the city. But he is still more frequently named in Novara, Vercelli, Casale, Alessandria, and in the tract of country leading from thence to Turin. Nor is this the whole itinerary of such as wish to see all his works. We must often deviate from the beaten road, and visit in this district castles and villas, which frequently present us with excellent specimens, particularly in Monferrato. He there passed a great part of his life; having been brought up in Moncalvo, says P. Orlandi, an estate of Monferrino, where he had both a home and school of painting. He seems to have begun his career in these parts; and as his first works they point out, in the Sacro Monte di Crea, some small chapels with passages from the sacred writings. P. della Valle describes his style at Crea as that of the infant Graces. He remarks that there are indications of his inexperience in fresco painting, and that by comparing his early works with his last we may trace the improvement in his style. He attained such a degree of excellence as to be considered as an example to fresco painters for his great skill in this department. He is to be seen in Milan at S. Antonio Abate, by the side of the Carloni of Genoa: he there painted the titular saint, with S. Paul, the first hermit; and maintains himself in this dangerous contest. His picture in the cupola of S. Paul at Novara is a beautiful and vigorous painting, with a glory of angels, painted, as he generally did, in a delightful manner. In oils he was perhaps not so successful. I have seen few of his pictures painted with that strength with which he represented in Turin St. Peter in the pontifical habit, in the church of S. Croce. The picture of S. Teresa, in the church of that saint, is also well coloured; and it is celebrated for its graceful design, in which is represented the saint between two angels, overpowered at the appearance of the holy family, which is revealed to her in her ecstacy. To this may be also added the Deposition from the Cross at S. Gaudenzio di Novara, which is there by some considered his masterpiece, and it is indeed a work of the highest merit. In general his tints are so delicate, that in our days at least he appears somewhat languid, the fault perhaps of not having retouched his pictures sufficiently.