The last of the Venetian artists who procured for himself a great reputation in Europe, was Gio. Batista Tiepolo, so frequently commended by Algarotti. He was honoured likewise with a poetical eulogy by the Ab. Bettinelli, became celebrated in Italy, in Germany, and in Spain, where he died painter to the court of Madrid. Pupil to Lazzarini, whose deliberate and cautious style served to curb his too great warmth and rapidity, he subsequently studied Piazzetta, animating and enlivening as it were his manner, as he appears to have done in his picture of the Shipwreck of San Satiro at San Ambrogio in Milan. He next became an assiduous imitator of Paul Veronese, whom, though inferior to him in the airs of his heads, he very nearly approached in his folds and his colouring. From the engravings also of Albert Durer, that storehouse of copious composers, he derived no little advantage. Nor did he at any time abandon the study of nature in observing all the accidents of light and shade, and the contrasts of colour best adapted to produce effect. In this branch he succeeded admirably, particularly in his works in fresco, for which he appears to have been endued by nature with promptness, rapidity, and facility in great compositions. While others were accustomed to display the most vivid colours, he only availed himself in his frescos of what are termed low and dusky colours; and by harmonizing them with others of a common kind, but more clear and beautiful, he produced a species of effect in his frescos, a beauty, a sunlike radiance, unequalled, perhaps, by any other artist. Of this the grand vault belonging to the Teresiani in Venice presents a fine specimen. He has there represented the Santa Casa, accompanied by numerous groups of angels finely foreshortened and varied, surrounded by a field of light that appears to rise into the firmament. Such an artist would have been truly great, had he, in works upon this scale, succeeded in observing equal correctness in every part; in the whole he always produces an agreeable effect. He appears more correct and careful in his oil pieces, which we find dispersed throughout the metropolitan city as well as the state. At San Antonio in Padua we meet with his Martyrdom of Santa Agatha, a picture alluded to by Algarotti as a very rare example of fine expression, at once uniting that of terror at approaching fate, and of joy for the glory of beatitude in view. Many other beauties are remarked by Rossetti in this picture, which he admits, however deeply interested in defending it from every imputation cast upon it by Cochin, is not altogether perfect in point of design.