His memory is deservedly held in veneration in his native place. He was the first to form the Turin academy on the model of the greater institutions of that kind: so that it seemed to date a new birth from his time, in 1736 (for it was not before extended to all branches of the art) under the appellation of the Royal Academy; as appears from the Orazione of Tagliazucchi, and the poetry annexed, in a little volume edited in Turin in 1736, entitled, _Orazione e Poesie per la Instituzione dell'Accademia del disegno_, in 8vo. Beaumont educated not only many painters of merit, but also engravers, tapestry-workers, and modellers and statuaries; from which epoch the national cultivation of the fine arts has increased, far beyond the example of former times. Some of those who were the scholars of Beaumont in painting still survive. Some are deceased, (and these alone hold a place in this work,) of similar style, though not of equal talents with their master. Vittorio Blanseri was considered the best amongst them, and was on that account chosen by the court to succeed Beaumont. The three pictures by him at S. Pelagia, and particularly a S. Luigi fainting in the arms of an angel, are much esteemed in Turin; and if I err not, he is superior to his master in the distribution of light and shade. A more correct designer than Blanseri, but inferior in poetical invention, and in knowledge of harmony and colouring, was Gio. Molinari, who painted some pictures in the churches; one of which is at S. Bernardo di Vercelli, a composition of saints, well disposed, with good action, and conducted with great care. In Turin there is an Addolorata by him at the Regio Albergo delle Virtù; others in various places in the state; amongst which in the abbey of S. Benigno is a St. John the Baptist, with a landscape by Cignaroli. In private collections we meet with his historical pieces and his portraits: he painted one of the king, which was highly applauded, and has been very frequently copied. Owing to his character, which was naturally timid, reserved, and modest, he painted history less than he ought to have done. This artist was honoured by the Baron Vernazza with an elegant eulogium, which will confer a lasting honour on his memory. He died nearly at the same time as another eminent Piedmontese of the name of Tesio. Whether or not Tesio was instructed in the art by Beaumont, or by others, I cannot state; but I know that he repaired to Rome, and there became one of the best scholars of Mengs; and at Moncalieri, a delightful residence of the royal family, are to be seen some of the finest specimens of his talents. Felice Cervetti and Mattia Franceschini worked sometimes alone, sometimes in competition, with more facility but less finish, and are pretty frequently met with in Turin. But in Turin, and throughout the state, Antonio Milocco is better known than these, or perhaps any other painter. He was not the scholar, but for some time the companion of the