Upon his decease in 1633, every vestige of the manner and of the school of Jacopo became extinct in Bassano. There nevertheless arose about the same period in Cittadella, a place adjacent to Bassano, a young genius of the name of Gio. Batista Zampezzo, who, directed by Apollonio, and having concluded his studies at Venice, devoted himself to copying the works of Jacopo. So well did he imitate his Santa Lucilla baptized by San Valentino, a piece at the Grazie in Bassano, that Bartolommeo Scaligero pronounced it comparable with the original. He flourished about 1660;[66] and subsequent to him appeared the noble Gio. Antonio Lazzari, a Venetian, who succeeded in deceiving the most skilful artists, says Melchiori, by dint of copying Jacopo, and passing for him. It will not have been irksome, I trust, to my readers, thus to have connected together a series of the school of Bassano, by aid of which the copies taken by so many artists, at different periods, and with various degrees of merit, may be better distinguished.[67] Whilst the Bassanese school employed itself in drawing the simplest objects of rural nature upon a small scale, a different one sprung up in Verona, which surpassed all others by copying, upon the most ample grounds, every thing most beautiful in art; such as architecture, costume, ornaments, the splendour of trains of servants, and luxury worthy of kings. This then remained still to be completed, and it was reserved for the genius of Paul Caliari to accomplish. The son of Gabriele, a sculptor at Verona, he was destined by his father for the same art. Instructed in a knowledge of design, and modelling in clay, he nevertheless evinced so strong a genius for painting, as to induce his father to give him as a pupil to Badile, under whom, in a short time, he made an astonishing progress. He had, however, appeared in an age that made it incumbent on him to exert himself greatly, such were the splendid talents that distinguished the Veronese School. It is deserving, indeed, of separate mention, inasmuch as it might of itself form a school apart, were it not that its principal masters had acquired a knowledge of their art, either from Mantegna of Padua, or from the Venetian Bellini; from Giorgione, or as we shall have occasion to see, from Titian. It was thus derived rather from the artists of the state, than from its own or from foreign sources; though it flourished by its own industry, and produced as many various styles as any other place in the terra firma. I have already alluded to the remark of Vasari, that "Verona having constantly devoted itself, after the death of F. Giocondo, to the study of design, produced at all times excellent artists, &c." such praise as he bestowed on no other city of the Venetian state. I noticed also its superiority in force of expression, and its very general taste, in animating and giving an air of liveliness to its heads, so general indeed as to be almost characteristic of the nation.