Antonio Zanchi da Este was an artist, also, better known in Venice for the number, than for the excellence of his works. His style is altogether distinct from that of the foregoing, and it is uncertain whether he derived it from his master Ruschi, or from some other of the sect of naturalists whom we have before described. Such, at least, appears the cast of his genius, common in its forms, sombre in its colours; but nevertheless exciting surprise, by a certain fulness and felicity of hand, by its picturesque spirit, by its effect of chiaroscuro, and by a grand general result, which imposes upon us by its power. If we examine more particularly into his manner, we shall not unfrequently discover an incorrectness of design, along with that kind of indecision, and indistinctness of outline, which is mostly the resource of weak, or, at least, of very hasty artists. He chiefly attached himself to Tintoretto, some traces of whom may be found in his style. In the college of S. Rocco, where that great master rendered his name immortal, we behold one of the best specimens of Zanchi. The subject, admirably fitted to his manner, contributed greatly to his success. He has there given a bold exhibition of the great plague that afflicted Venice in 1630, a picture filled with a concourse of the sick, the dying, and the dead, borne to one universal grave. Opposite to this grand painting there is another from the hand of Pietro Negri, his pupil, as is supposed, but more probably his rival, which represents the liberation of the city from that fatal scourge; and in it, too, we perceive the peculiar ease, and the manner of Zanchi, somewhat improved, however, and ennobled in its forms. Francesco Trevisani, another of his pupils, took up his residence at Rome, in the list of whose professors he has already been commended (tom. ii. p. 296). Gio. Bonagrazia, however, remained in the Venetian state; and acquired some reputation in his native town and province of Trevigi, more particularly for his paintings at San Vito. Antonio Molinari belonged, likewise, to the same school, but almost wholly renounced the maxims he had acquired in it.[87] His style is by no means equally sustained; a case that frequently occurs to such as abandon the methods in which they have been educated, and attempt to strike into new paths. I have seen some of his pictures at Venice, and elsewhere, in fine relief, and others quite the contrary; at times, too, he appears beautiful, but cold. In the vigour of his powers, however, when he produced the works most decisive of his merits, such as his History of Oza, at the Corpus Domini, he displays a style no less solid than pleasing, and which equally satisfies the judgment and the eye. There is a study both of design and of expression, ample beauty of forms, richness of drapery, with a taste and harmony of tints not surpassed by any artist of the times.