In Trevigi, Ascanio Spineda, a noble of that city, is held in some estimation, and included among the disciples of Palma; from whom he is sometimes with difficulty distinguished. One of the most exact in point of design, he also colours with much sweetness and grace of tints; an artist deserving to be known in his native district, which abounds with the best of his works. He employed himself there, for many churches, succeeding perhaps better at San Teonisto than at any other place. No one surpassed him in the number of his pieces for public exhibition, if we except indeed one Bartolommeo Orioli, who, about the same period, displayed the talent of a good practiser, though with less repute. This last belonged to that numerous tribe who, in Italy, were ambitious of uniting in themselves the powers of poetry and painting; but who, not having received sufficient polish either in precept or in art, gave vent to their inspiration in their native place, covering the columns with sonnets, and the churches with pictures, without exciting the envy of the adjacent districts. Father Federici praises him for his portraits; a valued ornament, at that period, of large pictures, and well introduced by Orioli, in the church of St. Croce, where a numerous procession of the people of Trevigi appears, taken from the life. Burchiellati, a contemporary historian of the place, adds, as a companion to the foregoing, the name of Giacomo Bravo, a painter of figures and ornamental works, which are still held in some degree of estimation. Paolo Piazza, of Castelfranco, who afterwards became a Capuchin by the name of Father Cosimo, is enumerated by Baglione among the good practisers, and the pupils of Palma. Yet he bears little resemblance to him, having formed a style of his own, not powerful indeed, but free and pleasing, which attracted the eye of Paul V., the Emperor Rodolph II., and the Doge Priuli; all of whom availed themselves of his ability. Both the capital and the state boast many of his pieces in fresco, and some altarpieces: nor is Rome without them, where, in the Palazzo Borghese, he painted those very fanciful ornaments in friezes, for various chambers, as well as histories of Cleopatra for the Great Hall, and in the Campidoglio at the Conservatori, a celebrated picture of Christ taken from the Cross. While residing in Rome he attended to the instruction of Andrea Piazza, his nephew, who in course of time entered the service of the Duke of Lorraine, by whom he had the honour of being made a cavalier. Upon returning to his own state, he produced his great picture of the Marriage of Cana, for the church of Santa Maria; one of the best pieces that adorn the place.