I have found, in the course of my reading, one Michela, whether or not of Piedmont I cannot determine, who, in the royal castle painted perspectives, ornamented with figures by Olivieri; a work executed in competition with Lucatelli, Marco Ricci, and Gian Paolo Pannini, celebrated artists of those times. For the more extensive decorations of the churches and the theatres we find two artists often employed; Dellamano, of Modena, mentioned by us in the second chapter of the Lombard Schools,[77] and Gio. Batista Crosato, of Venice, whose genius and fine taste are extolled by Sig. Zanetti. He has not, however, been able to adduce more than one public picture, in which branch, and in every other of a figurist, he was less admired than in perspective. He is one of those painters who deceive the eye by a strong relief, and he thus gives the semblance of reality to his imitations. He has left proofs of this quality in various parts of Piedmont, where he generally resided; and the works which do the most honour to his memory are at the Vigna della Regina. He conferred a benefit on the School of Piedmont, from his instruction of Bernardino Galliari, a celebrated perspective painter, particularly for the theatres, and of great fame in Milan, in Berlin, and in other places beyond the mountains. To this respected professor his scholars are indebted for their accurate taste in art. The state has also produced other painters in figures and in landscape; nor will any impartial person blame me for not having particularised every individual of them. On the contrary, I fear that several names here inserted by me, may appear to some of my readers scarcely worthy of admission. Such persons ought however to consider, that the mediocrity of the times compels the historian to notice artists of mediocrity. Footnote 77: See vol. iv. p. 69.