Carnival on the Piazza Colonna (Wadsworth Atheneum, 1645). The painting provides a powerful representation of the fury of carnival. As is common in Miel's 'bambocciate' compositions, noble and common people appear in the same scene: the Roman nobility mounted on horseback is dossed out in elegant costumes while the common people crowd the entire square engaging in merrymaking, panhandling, the game of morra and other lowly activities. A commedia dell'arte troupe standing on a cart also participates in the revelry. The merrymaking takes place on the last day of Carnival when the excitement has reached its peak. As Carnival also announces the beginning of spring, an effigy of winter is dangling from the gallows on the left. Collaborations Miel often collaborated with other artists as was the custom at the time. He painted the staffage for the vedute (cityscapes or other views) by Viviano Codazzi and Alessandro Salucci and the landscapes of Gaspard Dughet and Angeluccio. Jan Miel worked particularly closely with Alessandro Salucci, an important innovator of veduta painting. Salucci produced many capricci, which often incorporated antique Roman monuments in imaginary environments. The collaboration between the two artists commenced in 1635 and ended when Miel left Rome for Turin in 1658 to work at the court of Charles Emmanuel II, Duke of Savoy. The only dated example of the two artists' collaborative efforts is an Imaginary Seaport (Cincinnati Art Museum), which is dated to 1656. Miel excelled in depicting stories, which filled up the open spaces in Salucci's vedute. Miel often included multiple anecdotal scenes in a single work. This is evident in An architectural capriccio with an ionic portico, a fountain, a two-story loggia, a Gothic palace and figures on a quay (Christie's, Sale 1708, Lot 56). This composition depicts various groups of people acting independently of each other: there are an elegant couple on the lower left on the stairs, figures at the well next to them and card players on the steps in the distance. Miel's figures were typically farmers, beggars, morra players, innkeepers and porters often mixed with elegantly dressed men and women, who provided a rich flavor of Roman daily life to the architectural setting created by Salucci. There is evidence that in 1641, Jan Miel was documented in the studio of Andrea Sacchi. This collaboration is rather exceptional since Sacchi was an important critic of the Bambocciante style of which Miel was an