[Footnote 71: It has been stated in his defence, that had he clothed the whole of his figures with those tunics and ancient mantles, he would have become monotonous, and consequently uninteresting in his great history pieces. But I am of opinion, that whoever is familiar with ancient statues and bassi relievi, will find means of varying his compositions. The Cavalier Canova has recently produced two bassi relievi, on the condemnation of Socrates. The Greek vests are two, the tunic and pallium; yet these are finely varied, though there are a number of spectators.] [Footnote 72: According to Ridolfi, however, he is said to have attained his twenty-sixth year; but certainly not more.] [Footnote 73: Father Federici has, in the course of this year, 1803, brought to light another scholar of Paul, and afterwards of Carletto, born, like Parrasio, in Venice. He calls him Giacomo Lauro, and Giacomo da Trevigi, because, having established himself in that city, with his family, while still a youth, no one could distinguish him by any other patronymic than that of Trevigiano. Thus speak several anonymous contemporaries, from whose MSS. the reverend father has extracted no slight information relative to the pictures executed by Lauro in his new country. There he enjoyed the friendship of the fathers of San Domenico, for whose church he painted his celebrated picture of St. Rocco, in which he exhibited, with great tragic power, the terrific scourge of the plague. It is honourable to this artist, who died young, that this altarpiece, as well as his other pictures, both in oil and in fresco, have, until lately, been attributed either to Paul or to Carlo, or to some less celebrated hands, but always to good and experienced artists.] [Footnote 74: See Boschini, Carta, p. 160. Zanetti, p. 494.] [Footnote 75: A class of artists so called, from their excessive use of deep shades and dark colours. _Tr._] [Footnote 76: There was an attempt to revive it, made in Florence. Roscoe, in his "Life of Lorenzo de' Medici," (vol. ii. p. 220, 6th ed.) relates, that, with Gherardo, Lorenzo associated Domenico Ghirlandajo to work in mosaic at the chapel of San Zenobio: but that this undertaking, so admirably begun, was interrupted by Lorenzo's death; insomuch that "his attempts," observes the historian, "were thus in a great degree frustrated." This honour appeared to be reserved for Venice.] VENETIAN SCHOOL. THIRD EPOCH. _Innovations of the Mannerists of the Seventeenth Century. Corruption of Venetian Painting._