of the Cathedral of Acireale. He decided in favour of Vasta. He was himself involved in a similar competition with Olivio Sòzzi over the decoration of the Cathedral of Alcamo. He won thanks to the support of the patrons. Still in Sicily, he also frescoed the Church of John the Apostle, Piazza Armerina. In the latter part of his life Borremans slowed down the hectic pace of his activities and fewer works are documented during this period. Borremans died on 17 April 1744 and was buried in the Capuchin Church in Palermo. His son Luigi who likely trained and worked with him continued in his father's vein by creating vast decorative cycles for the local churches. Luigi's activity is known for signed and dated frescoes of 1747 located in Caltanissetta. To his grandson Guglielmo the Younger are attributed extensions to the paintings in the Cathedral of Enna, which are largely considered to be by the hand of Guglielmo the Elder. Work Almost all of his known oeuvre was made and is located in Southern Italy. The majority of his works depict religious and, to a lesser extent, mythological subject matter. He was praised as a portrait painter during his residence in Naples, but no painted portraits are currently attributed to him. Guglielmo Borremans was quite unique in that as a Flemish painter who was not trained in the technique and art of fresco painting, he was able to establish himself as one of the leading fresco painters in southern Italy in the early 18th century. He may have learned the fresco technique from his master Pieter van Lint who during his time in Italy painted fresco's in the Cybo-Soderini Chapel in the Basilica of Santa Maria del Popolo in Rome. He also created works on canvas. Many of his works have been lost due to destruction caused by war and lack of adequate restoration. He also used a thinner wash of pigments than local painters which may have contributed to a quicker decay. His earliest works show his debt to the Flemish Baroque school and in particular the work of Peter Paul Rubens. Later his style absorbed local and contemporary influences and developed towards the late Baroque idiom that was popular in southern Italy at the time. His youth works show in particular his dependence on the Rubens tradition as continued by Rubens' pupils Anthony van Dyck and Jacob Jordaens.