His training is not known, though an adherence to the style of the
tenebroso suggests the school of
Antonio Molinari. Migliori first appears in the records of the painter's guild starting in 1711. His name appears in 1722 as the author of a series of paintings in the inventory for the gallery of
Frederick Augustus I, Elector of Saxony. A first group of paintings depicts mostly biblical subjects:
Cain and Abel, the
Sacrifice of Isaac, a
Joseph Interprets the Dreams, a
Lot and His Daughters, and
Cimon and Pero (destroyed, but of which we have reproductions). The influence of
Bencovich and
Piazetta is evident. Later, he sent two mythological scenes with
Bacchus and Ariadne and the
Rape of Europa (still in Gemäldegalerie of
Dresden). Also from this decade appear to be two altarpieces, depicting the
Adoration of the Magi and the
Transit of St. Joseph, which once had been attributed to
Gaspare Diziani. By 1718 he completed the altarpiece of the
Assumption for the altar of the Blessed Assumption School in
San Stae. About this time, he likely completed the altarpiece of the
Crucifixion with Saints Lawrence, Lucia, and Rocco for the parish church of San Martino a Sambughè, in
Treviso. In 1727–28 he completed the painted decoration of the organ doors of
San Moise with a
St. Cecilia and an
Adoration of the Golden Calf. Another artist active in the decoration of the choir was
Francesco Pittoni (the uncle of
Giambattista). He also completed an altarpiece of
St. Anthony Resuscitates Father Martino for a chapel at the right in the church. He painted a small canvas depicting
Christ and the Samaritan and a
Christ and Mary Magdalene now at
Rovigo. By 1728, he began to perform extensive works in the decoration of
San Marcuola. Beginning in April 1728, he is documented to have painted a series of canvases about the titular saints of Ermagora and Fortunato for the church of San Marcuola, recently renovated by
Giorgio Massari. By 1729–1731, he competed paintings for the sacristy of this church, depicting ''Fortunato Attends Ermagora's Martyrdom
and the Baptism conferred by Ermagora to the martyred Saints Euphemia, Dorotea, Tecla, and Erasma
, plus a ceiling canvas depicting the Glory of Saints Ermagora and Fortunato'' (1735). He also painted a second subject for presbytery with the
Fall of Manna (August 1735). He likely painted a
Virgin of Sorrows and
St. Francis of Paola now on the sides of the pulpit. He apparently painted the main altarpiece of the
Assumption but that appears now replaced by a copy. He may have played a role in a cycle of the Passion of Christ for the adjacent oratory, but the one remaining painting is attributed to
Nicolò Bambini. ==Sources==