Towards the close of the century, one of the artists in most request was Menarola, whose style approaches nearer to the modern. He was pupil to Volpato, though chiefly following the manner of Carpioni. Next to him was Costantin Pasqualotto, more distinguished for colouring than for design; and Antonio de' Pieri, called Zoppo, of Vicenza, who possessed a rapid, but less decided hand; along with some others who may be recognized in this description. Still higher in repute than these was Pasquale Rossi, little of whom remains in Vicenza, having chiefly attached himself to the Roman School, where he will be found mentioned. Gio. Bittonte, leaving Vicenza, established himself, and painted a good deal at Castelfranco; where, from the circumstance of founding a school both of painting and of dancing, he acquired the surname of Ballerino. Melchiori represents him as pupil to Maffei, and master of Melchiore, his father, who lived also in Castelfranco, where he was much employed, although engaged also at Venice, in the Casa Morosini, where he competed with the Cavalier Liberi. When the ancient school had become wholly extinct at Bassano, there appeared a Gio. Batista Volpati, who produced many pictures for his native state; somewhat resembling Carpioni in his capricci and in his style, but more common, perhaps, in his features and whole design. His pupils are said to have been one Trivellini, and one Bernardoni, both still inferior to their master. He left behind him several treatises upon the pictoric art, which are yet existing in MS. in the rich and select library of Count Giuseppe Remondini. In the preface to these he asserts that he had no master, though he is said, in a MS. at Castelfranco, to have been a pupil of Novelli. The work is interspersed with good remarks, such as to lead us to suppose him a tolerable theorist; and Algarotti took a copy of it, as we learn from the index of his works upon the fine arts, already before the public.