Alessandro Mari, of Turin, resided only for a short time in his native city, nor did he leave any public works there. He changed both his country and his school, and studied first under Piola, next under Liberi, and again under Pasinelli; always uniting the practice of painting with the cultivation of poetry. He ultimately became a celebrated copyist, and a successful designer of capricci and symbolical representations, by which he established a reputation in Milan, and afterwards in Spain, where he died. We find the name of Isabella dal Pozzo inscribed at the foot of a picture at S. Francis, which represents the Virgin, together with S. Biagio and other saints. The birth-place of this fair artist is unknown to me; but I may observe that, in 1666, when she painted, there were not many better artists in Turin. Somewhat later flourished Gio. Antonio Mareni, a scholar of Baciccio, by whom there is a beautiful picture noticed in the _Guide_. Towards the beginning of the eighteenth century were employed in those churches, and sometimes in competition with each other, Antonio Mari and Tarquinio Grassi, whether of the family of Niccolò Grassi of Venice, who painted at S. Carlo, I cannot say, but certainly the father of a Gio. Batista. Tarquinio is well known in Turin, and seems to have derived some portion of his style from Cignani and the Bolognese of that age. Monferrato was not deficient in good artists in the seventeenth century. Some of these I have mentioned in the train of Lanini; others in that of Moncalvo. I shall here mention only Evangelista Martinotti, the scholar of Salvator Rosa, of great excellence in landscapes, small figures, and animals, as Orlandi informs us. I may add, that he succeeded also in nobler subjects; a Baptism of our Lord, in the Duomo of Casale, is shewn as his, and is a highly finished performance. There are two works there in public by a Raviglione di Casale, than whom, after Musso, I do not think that Monferrato has produced a more commendable artist: but we are nevertheless ignorant of his name, his age, and his school. Ferdinando Cairo was a respectable disciple of Franceschini in Bologna: he afterwards established himself at Brescia, where he continued, with Boni and others, to profess that easy style, and the latter city possesses his best works. SCHOOL OF PIEDMONT AND THE ADJACENT TERRITORY. EPOCH III. _School of Beaumont, and Restoration of the Academy._