The native painters of reputation were not numerous at this time; and the most considerable, if I mistake not, were Caravoglia and Taricco. Bartolommeo Caravoglia, a Piedmontese, was said to be the scholar of Guercino: he followed his master's footsteps at a distance, affecting a contrast of light and shade; but his lights are much less clear than those of Guercino, and the shadows not so strong; a thing which does not occur in the works of the genuine scholars of that master. Notwithstanding this feebleness, he pleases us by a certain modest harmony which pervades his pictures, and governs also the invention, the design, the architecture, and the other decorative parts of his composition. In Turin is to be seen the Miracle of the Eucharist, painted in the church of the _Corpus Domini_, which, to perpetuate the occurrence of that event in Turin in 1453, was erected in a sumptuous manner, and magnificently decorated. "Sebastiano Taricco was born in Cherasco, a city of Piedmont, in the year 1645; and it clearly appears from his works that he studied with Guido and with Domenichino in the great school of the Caracci." Thus far his historian. I have endeavoured, but in vain, to find any record of the residence of these two great masters in Bologna in the year 1645, when Taricco was born; they were at that time both dead. I therefore conjecture that the writer meant to say, that Taricco studied in Bologna the works of the Caracci, as Guido and Domenichino had done before him. That he acquired the principles of his art in that city is believed in Piedmont; and his manner does not contradict this supposition. The truth is, that at that time all Italy, as it were, was turned to the imitation of the Bolognese; and Turin, as I have previously observed, had already a few specimens. Above all they possessed specimens of Guido, and of his followers, Carlo Nuvolone and Gio. Peruzzini; and all might influence the style of Sebastiano, which was select in the heads, and sufficiently pleasing in general, but of too great facility, and without that refinement which distinguishes the classic painters. This I say after seeing the picture of the Trinity, and others of his oil pictures at Turin: but I have heard that the Sala of the Sig. Gotti, painted by him in fresco in his native place, and various other works by him interspersed through that vicinity, inspire a higher opinion of his talents. In the seventh volume of the _Lettere Pittoriche_ there is mention made of a picture of S. Martino Maggiore at Bologna; where are represented the Saints Giovacchino and Anna, and where there is subscribed the initials TAR, probably Taricco, as has been elsewhere conjectured. But the style of this picture is like that of Sabbatini, which is in fact a more ancient style than that which Taricco has exhibited in his authenticated works.