force and magic of his colouring. Nor in Turin do we find in him that incorrect design which Pascoli attributes to him in Rome. But his oil pictures are by far the most highly finished of his works; as for example, a Pieta in the court, which we should say was designed in the academy of the Caracci. He also painted the cupola of the great hospital, and it is one of the finest frescos of the capital. We also meet with him in the churches in various places in the state; and we find his works in many private collections out of Piedmont, as he painted considerably in Venice and in Rome. Another foreigner, Carlo Delfino, a Frenchman, also flourished at this time; an artist of very considerable merit. From the registers of the archives we learn that he was painter to Prince Philibert; and from an inspection of his works we may conjecture that he was more employed in the churches than at the court, where we find him an animated and lively portrait painter and colourist. He painted some altar-pieces for the city, in which is displayed a genius more disposed to the natural than to the ideal, and a fire which gives life to the gestures and composition; but sometimes, if I do not estimate him wrongly, his ideas seem forced. Thus at the church of S. Carlo, wishing to paint a S. Agostino overpowered by the love of God, he represented a S. Joseph holding in his arms the infant Christ, who from a cross-bow directs an arrow against the breast of the saint. The saint struck, falls into the arms of angels, who employ themselves in supporting and comforting him. Delfino had a scholar in Gio. Batista Brambilla, who painted at S. Dalmazio a large picture on canvass, of the Martyrdom of that saint, and was an artist of a correct style and a good colourist. There were other painters employed by the court from the middle to the end of the century: some as portrait painters, as Monsieur Spirito, the Cav. Mombasilio, Theodore Matham of Haerlem, and others employed in larger works in oils and fresco. Giacinto Brandi, already mentioned among the scholars of Lanfranc, painted in the palace a sfondo, in competition with some others painted there by Saiter. Agostino Scilla of Messina, whom we have elsewhere noticed, painted some Virtues there, conjointly with Saiter. He was a fine artist, of more talent than industry. Gio. Andrea Casella of Lugano, a scholar of Pietro da Cortona, and one of his best followers, and sometimes in design an imitator of Bernino, painted in the Veneria Reale some fables, assisted by Giacomo, his nephew. Gio. Paolo Recchi da Como worked there in the same way in fresco, with the assistance of his nephew Giannandrea. Gio. Peruzzini, of Ancona, a scholar of Simon da Pesaro, was also patronised by the court, and was created a cavalier, and contributed by his lectures to the instruction of youth.