_Painters of the Seventeenth Century, and first Establishment of the Academy._ Returning now to Turin and to the seventeenth century, in the early part of which the painters, whom we have mentioned with commendation, were either still surviving, or only lately deceased, we meet with Federigo Zuccaro, who, in his journey through the various states of Italy, (of which Baglione speaks,) did not fail to visit Turin. He there painted some pictures in the churches, and commenced the decoration of a gallery for the duke; a work which, from some cause or other, was left unfinished. Baglione does not inform us that this gallery was destined for the reception of works of art, but it is highly probable that it was so; since, at that time, a considerable collection of ancient marbles,[75] designs, and cartoons, was already formed, which has been since enlarged, and is now preserved in the Archivio Reale; and a select cabinet of pictures, to which similar additions have been made, and which is now the principal ornament of the royal palace, and the villas of the sovereign. We there find the works of Bellini, Holbein, and the Bassani; the two large compositions of Paolo, executed for the Duke Charles, and described by Ridolfi; several pictures of the Caracci and their best scholars, amongst which are the Four Elements by Albano, an admirable production; without mentioning others by Moncalvo and Gentileschi, both of whom resided for some time in Turin, and by other eminent Italian artists, or the best Flemish painters, some of whom remained a considerable time in that city. Hence, in this class of pictures, the house of Savoy surpasses every single house in Italy, or even many taken together. Footnote 75: Galleria del Marini, p. 288.