famous painter and miniaturist at the court of Tsar Peter the Great of Russia. He was also very fond of friendship and affection with the fellow Luca Carlevarijs and with the young and promising Rosalba Carriera, of whom he painted an intense portrait on the occasion of his appointment to Academia di San Luca. His portraiture style later also influenced other painters, including Alessandro Longhi and Niccolò Cassana. Bombelli had a half brother, Raffaele, also a painter, less well known than Sebastiano and active in the Friuli area. The artist also traveled and worked abroad, for example in Bavaria, where he portrayed the Elector Ferdinand Maria of Bavaria, his wife Enrichetta Adelaide di Savoia, the children Maria Anna Vittoria of Bavaria, Maximilian II Emanuel of Bavaria, Joseph Clement of Bavaria and his brother Maximilian Philip Jerome of Bavaria, to Innsbruch portraying the Archduchess Anna de 'Medici and the daughters Claudia Felicita of Austria (future emperor's Leopold I second wife) and Mary Magdalene, for the dukes of Brunswick-Lüneburg, as well as Vienna where he portrayed the emperor Leopold I of Habsburg and the couple Joseph I of Habsburg and Wilhelmina Amalia of Brunswick-Lüneburg, was also active in Florence, Mantua and Parma and lent his service to some cardinals. . His atelier in Venice was very famous and frequented by important personalities passing through Venice, in particular during Carnival: on this occasion he portrayed the prince in 1692 Frederick of Denmark (future king Frederick IV). Sebastiano Bombelli was also an art expert: being the greatest connoisseur of Paolo Veronese, he was often contacted to verify the authenticity of works that surfaced on the market. Concurrently with this activity, Bombelli was also a restorer. Unfortunately, to give new brilliance to ancient artworks, he used paints and lacquers that - with the passing of time - oxidized blackening the paint film. Various sources, contemporary and non-contemporary, refer to this information, in particular Lanzi. His mastery of the use of colors, however, was much appreciated, to the extent that he was the dedicatee of the text Nuovo plico d'ogni sorte di tinture by Gallipido Tallier - published in 1704 - and the painter was addressed with these words «... knowing the world the virtue, which she generally possesses of coloring and painting; And I am going to say, that the opre of his penoron have a not that of celestial, which dazzles the sight to