Footnote 76: The mediocrity of some who are extolled in Marini's work, which was published about the year 1610, appears from the silence observed towards them by contemporary writers, or the little applause with which they are named. I never elsewhere found mention, to the best of my recollection, of Lucilio Gentiloni, of Filatrava, nor of Giulio Donnabella, who there figure as eminent designers; nor of Annibale Mancini, whence I know not, a painter of histories; nor of the two equally renowned Frenchmen, M. Brandin and M. Flaminet, elsewhere transformed into Fulminetto; much less a Raffaele Rabbia, and a Giulio Maina, who painted the poet's portrait; unless, indeed, the second be the Bolognese Giulio Morina, mutilated in his name, like not a few other artists of this truly ill assorted _Gallery_. [This artist would rather appear to be the Giulio Mayno, of Asti, the court painter, mentioned in p. 467, _ante._ _Ed._] The painters whom I have just mentioned were, most probably, the instructors of those artists of Turin and the states who flourished elsewhere; as Bernaschi in Naples, Garoli in Rome, and others who are said to have been also taught by foreigners, and who distinguished themselves in Piedmont. None of this number possess a stronger claim to our notice than Mulinari, (or, as he is more frequently called, Mollineri) whether with regard to merit, or the order of time. Most writers have considered him a scholar of the Caracci in Rome; from the imitation of whom he received the surname of Caraccino from his own countrymen. But I apprehend that this supposed residence of his in Rome proceeds from the common source of such mistakes, the resemblance of style, true or supposed. Della Valle mentions him as being settled in his native place in 1621, and of forty years of age; languid and feeble in his contours, and improving himself by the assistance of some masters, his friends; to which we may perhaps add, the study of the prints of the Caracci, and some of their paintings. My suspicions are confirmed by the Count Durando, a well informed and cautious writer, who denies that positive proof can be given of the reported instruction of Mulinari, notwithstanding the surname of Caraccino, a title not difficult to acquire from the vulgar, in a city so remote from Bologna and Rome; as in some countries which have little knowledge of the true style of Cicero, a writer may pass for an elegant latinist, while imitating Arnobius. In other respects, in the pictures which have acquired him celebrity, he is correct, energetic, and, if not dignified, yet animated and varied in his male heads; for, as Durando himself confesses, his females are all deficient in grace. His colouring is also good, though not resembling the Caracci; his tints being more clear, differently disposed, and sometimes feeble. At Turin, the Deposition from the Cross at S.