Casella, Recchi, and Peruzzini, repaired to Turin and united their talents in the embellishment of the churches of that city; and we may observe that, towards the close of the century, a great part of the commissions were executed by foreigners. To those already recorded we may add Triva, Legnani, Cairo, and also a Gio. Batista Pozzi, who not succeeding to his wishes in his own country, as I believe, decorated with frescos a vast number of walls in Turin, and through all the Piedmontese. He was a hasty practitioner, but sometimes produced a good general effect, as in the S. Cristoforo of Vercelli. We find another, and a better artist of the same name in P. Andrea, a Jesuit, who resided for a long time in Turin, where, in the Congregazione de' Mercanti, he left four histories from the life of the Saviour, painted in oil in his best manner, a manner derived from Rubens, chequered by those beautiful and playful lights which may be said to irradiate the composition. He also painted in fresco, in the church of his order, but he was not satisfied with that work; and having afterwards also to ornament the vault of the church of his order at Mondovi, he repeated the subject, and executed it more to his satisfaction. There also we find Il Genovesino, so called from his native place, not so well known in Turin as in the state, particularly at Alessandria; a painter by no means deficient in grace and colour, whence he is much esteemed in cabinets. The PP. Predicatori have a S. Domenico by him, and a S. Thomas in two altars of their church; the Sig. Marchese Ambrogio Ghilini, a Christ praying in the Garden; the Marchese Carlo Guasco, two Madonnas, with the holy infant sleeping, two different designs. The name of this artist was Giuseppe Calcia, who in consequence of living in a foreign country, is not noticed in his native history, and in the _Notizia delle Pitture d'Italia_, he is confused with Marco Genovesini, a Milanese mentioned by Orlandi. This artist was a considerable machinist, of whom there are no remains in Milan, except what he painted in the church of the Augustines; the genealogical tree, or history of that order, in the gallery, and two grand lateral compositions, in which the figures are finely varied and coloured, but not disposed and put into action with equal art. It would occupy too much time to enumerate all the foreigners who worked at that time in Turin, or throughout the state; and some of whom we have occasionally noticed in the various schools of Italy.