Goethe was the first one to sense instinctively that the pictorial work of Villa Valmarana was by two different hands: Giambattista Tiepolo (the sublime style) in the Palazzina and his son Giandomenico (the natural style) in the Foresteria. But it is only in 1941 that the critic Antonio Morassi officially and definitively recognises the paternity of the frescoes. Morassi sees the profound difference among the subjects of the two houses. He notices that the date on the banderol on a fresco of the Foresteria is 1757 and not 1737 as it had always been believed. Giandomenico, born in 1727, couldn’t have drawn at the age of 10 what has been universally considered his life masterpiece.