Dalmazio, is classed amongst his best works; but the composition is crowded, and very different from the principles of the Bolognese. In Savigliano, where Mulinari was born, and where he lived many years, pictures by him are found in almost every church; and his talent and merit are, in fact, only known in that place. There, and in Turin, we find some works by a worthy Flemish artist, named Gio. Claret, by some considered the scholar, by others the master of Gio. Antonio in colouring, but at all events his intimate friend. He is an artist of a free and spirited pencil, and painted in several churches in competition with Mulinari. Giulio Bruni, a Piedmontese, was a clever pupil of the Genoese School, first under Tavarone, then under Paggi, and remained painting in Genoa, until he was expelled by war. His works there, though not very finished, and too darkly coloured, were well designed, harmonious, and well composed. Such is, in the church of St. James, his St. Thomas of Villanova giving alms. History also mentions one Gio. Batista, his brother and scholar. Giuseppe Vermiglio, although born in Turin, is not named in the _Guide_ of that city. We find pictures by him in Piedmont, as at Novara and Alessandria; and beyond that dominion, in Mantua and Milan, in which last city is a work which is perhaps his masterpiece. The subject is a Daniel amidst Lions, in the library of the Passione, a large composition, well disposed, with fine architectural decorations, in the Paolesque style. The king and people are seen on a balcony admiring the prophet, untouched by the ferocious animals, while his accusers are, at the same instant, precipitated amidst the ravenous beasts, and torn to pieces. In the same composition is also represented the other prophet, borne through the air by an angel, by the hair of his head. We cannot exactly commend the design, which thus unites events incongruous in point of time. But with this exception, this is one of the most valuable pictures painted in Milan, after Gaudenzio, for correctness, beautiful forms, expression highly studied, and colours warm, varied, and lucid. From the imitative style of the heads, it is evident that he studied the Caracci, and was not a stranger to Guido; but in the colouring it seemed as if he had imitated the Flemish artists. It is reported in Milan, perhaps from the resemblance of the style, that he instructed Daniel Crespi; a circumstance very improbable, since Vermiglio continued to work to the year 1675. For we find this date at the foot of a large picture of the Woman of Samaria, in the refectory of the PP. Olivetani, in Alessandria, which must be one of his last works, decorated with a beautiful landscape, and a magnificent view of the city of Samaria in the distance. I consider him the finest painter in oil that the ancient state of Piedmont can boast, and as one of the best Italian artists of his day. Why he painted so near Turin, and yet had no