His style of design does not accord with that of the Caracci, which leads me to question the opinion prevalent in Moncalvo, that he was a pupil of that school. One of the Caracci school would have studied fresco in Bologna, not in Crea; nor would he have adopted in his landscape the style of Bril, as Moncalvo has done; nor have discovered a preference of the Roman style to that of Parma. Caccia's style of design seems derived from the elder schools, as we may observe in it a manner which partakes of Raffaello, of Andrea del Sarto, and Parmigianino, the great masters of ideal beauty. And in his Madonnas, which are to be seen in many collections, he sometimes seems the scholar of the one, and sometimes of the other; one of those in the royal palace of Turin seems designed by Andrea. But the colouring, though accompanied by grace and delicacy, as I said before, is different, and even borders often on debility, in the manner of the Bolognese School which preceded the Caracci, and more especially of Sabbatini. He resembles that master also in the beauty of the heads and in grace; and if it could be satisfactorily proved that Moncalvo studied in Bologna, we need not look further for a master than Sabbatini. But I have before made the remark that two painters frequently fall into the same style, as two different writers sometimes adopt the same characters. And I have also observed, in regard to Moncalvo, that in Casale he had Soleri, a painter of a lively and elegant style; and that there, in Vercelli, and in other cities where he resided, there was not wanting to him the best examples of that graceful style to which his genius inclined. He did not however shun nobler subjects; as his works in the church of the Conventuals at Moncalvo will shew, where there is a rich gallery of his pictures. Chieri also has specimens of him in two historical pictures in a chapel of S. Domenico. He there painted the two laterals of the altar; in the one is the resuscitation of Lazarus, in the other the miracle of the loaves in the desert; works remarkable for their richness of fancy, their excellent disposition, the correctness of the drawing, the vivacity of the action, and the first of which inspires both devotion and awe. They would confer honour on the noblest churches.