success in that city, and why he was not distinguished by his own sovereign, though well received at the court of Mantua, I have not been able to discover. We find one Rubini, a Piedmontese, certainly not of equal merit with the last artist, who, about the time of Vermiglio, worked in the church of S. Vito, in Trevigi, and whom we find mentioned in the MSS. of that city, or in the description of its pictures. Giovenal Boetto, celebrated amongst the engravers in Turin, deserves a place amongst superior artists, from a saloon painted by him in Fossano, his native place. It is in the Casa Garballi, and contains four pictures in fresco. The subject is the illustration of various arts and sciences. Theology is represented by a dispute between the Thomists and Scotists; and in that piece, and in the others, we must admire the truth of nature in the portraits, and the powerful chiaroscuro, as well as the design. Little else of him remains. Gio. Moneri, some of whose descendants were also painters, was born near Acqui, and being instructed by Romanelli, he brought with him from Rome the style of that school. The first proofs of his art were given in Acqui, in 1657, where he painted in the cathedral the picture of the Assumption, besides a Paradiso in fresco, much commended. He continued to advance in his art, as we see both in the Presentation in the church of the Capuchins, and in other pictures of him remaining in the neighbourhood, exhibiting a greater copiousness, a finer expression, and a stronger relief. It is known that he worked in Genoa and Milan and their dependencies, and in several places in Piedmont; but among these we cannot include Turin; nor could it be easy for a provincial painter to find commissions, when the capital had artists in sufficient number to form an academy.