During the period the latter flourished at Udine, Antonio Carnio, a native of a town of Portogruaro, came to establish himself in the city. Instructed in the art by his own father, a very able artist, he subsequently appears, as far as we may judge from his style, to have studied the works of Paul Veronese and Tintoretto. Next to Pordenone, the Friuli perhaps never produced a finer genius; equally original in all the branches of historic painting, bold in his design, happy in his colouring, more particularly of his fleshes; expressive in every variety of passion; and all these comprehended within the limits of a grand naturalist, though he frequently became a mannerist, in order to expedite his works. Several of his best productions are, at this period, lost to Udine, owing to the fault of the artist who retouched them; and among the most studied and the best preserved, there still remains his San Tommaso di Villanuova, adorning an altar of Santa Lucia. He produced likewise several histories for private ornament, half-length figures, portraits and heads in caricature, for which he displayed a peculiar talent, and which still exist at Udine. Both the city and province are well supplied with his pieces, few of which, however, are to be found coloured with strength of handling or very highly finished. He was never without numerous commissions, even though confining his talents to the Friuli; but either from want of prudence, or some other reason, he nevertheless died in penury near Portogruaro. A few of his pictures in that place are still pointed out; but those seen at San Francesco, among which are the Washing the Disciples' Feet, and our Lord's Last Supper, said to have been executed by him in 1604, either bear a false date, or are rather to be attributed to his father. For, at that period, Antonio could not have produced them, since he was still alive in the year 1680; and on this point we ought to admit the authority of Pavona, at one time his pupil, from whom Guarienti received his notices of Carnio, which he inserted in the Abecedario. This artist must not be confounded with another Carnio, named Giacomo, who flourished posterior to him, and was much inferior to Antonio in point of merit. Sebastiano Bombelli was born at Udine, as I just observed, though he studied and resided at other places. He left no specimens of his art in the Friuli, if we except a few portraits and pieces for private ornament, along with some heads or busts of saints; while his altarpiece of the Redeemer upon the Cross, between some saints, in the parochial church of Tricesimo, is considered a very rare piece. He had a brother of the name of Raphael, whose labours were more abundant, but the whole of them, together with his name, were confined within the limits of the Friuli.