Cavalier Beaumont; more dry than he in design, less cultivated, and inferior to him in all the qualities of a painter: but from a peculiar facility he was often employed by private individuals, and sometimes by the court. About the same period Giancarlo Aliberti flourished in Asti, his native city, which he adorned with many large compositions. The best of these are at S. Agostino, where, in the cupola of the church he has represented the titular saint borne to heaven by a band of angels; and in the presbytery, the same saint baptizing the newly converted in the church of his town of Ippona. The subject is well conceived; the perspective, which the vaulting of the edifice rendered difficult, is correctly preserved; the architecture is magnificent; the expression of the figures is in unison with the august ceremony: the style participates of the Roman and Bolognese of those times. He would probably have left some works of a higher order in the cathedral, a fine church, which was intended to have been wholly decorated by him; but in consequence of demanding fifteen years for the completion of his work, he was deprived of the commission; nor was it difficult to find one to execute it quickly enough, without exciting the jealousy of Aliberti. P. della Valle found in his style a mixture of Maratta, of Gio. da S. Giovanni, and of Coreggio; heads and feet which one should attribute to Guido or Domenichino; forms peculiar to the Caracci; drapery of Paolo, colours of Guercino, a Sacrifice of Abraham, imitated from Mecherino. I had not myself time to form so many comparisons. The Abate Aliberti, his son, painted in many of the above-named cities, and, (which I have not found in the father,) in the capital. There is a Holy Family, of fine effect, painted by him in the church of the Carmine, though in the colouring it is not exempt from that greenish tinge which was then in vogue in Italy, and which still predominates in the works of some of our artists. Francesco Antonio Cuniberti, of Savigliano, a fresco painter of some reputation in the decoration of cupolas and ceilings, worked in his native place and its neighbourhood. Pietro Gualla di Casalmonferrato also employed himself in fresco, and likewise painted in oil in many places of the state, and in the metropolis. Although he applied himself late to the study of his art, he became a portrait painter of great spirit. Nor ought he to have gone beyond this province, neither possessing a knowledge of design, nor genius equal to greater attempts. When verging on age, he assumed the habit of a friar of S. Paul, and in Milan undertook to ornament a cupola of the church of that order; but he died before he had finished his work.