[Footnote 55: He drew his head of San Niccolo a' Frari from a cast of the Laocoon; and from other models of the antique, that of S. John the Baptist, and of the Magdalen of Spain. From a Greek basso relievo he likewise copied the angels of his S. Peter Martyr. The same artist drew the Cesars, at Mantua, a work very highly commended, and impossible to have been so well executed without a knowledge of ancient sculpture, of which there yet exists a fine collection at Mantua. But what he drew from the antique, he also inspired with nature, the sole method of profiting by it, when a painter aspires to a higher character than that of a mere statuary. See Ridolfi, p. 171.] [Footnote 56: Lamberto Lombardo, of Liege, is the artist whose life was written in Latin, by his disciple Golzio, a work edited in Bruges in 1565. In his youth he adopted the surname of Suterman, or Susterman, in the Latin tongue _Suavis_, and having likewise been an excellent engraver, his signature was sometimes L. L., at others, L. S. The whole of this account is to be met with in Orlandi, and other books. Yet Orlandi and the new Guide of Padua, acknowledge another Lamberti, also surnamed Suster, upon the authority of Sandrart, who mentions him, p. 224. According to Orlandi, this artist was the assistant to Titian and Tintoret, by whom he is first recorded as Lamberto Suster, and again as Lamberto Tedesco. The same author mentions a Federigo di Lamberto, whose name occurs in our first volume, (p. 268), likewise called del Padovano and _Sustris_, certainly from _Suster_, for which see Vasari and his annotators. These Lamberti, founded upon the diversity between the Liege and German names of Susterman and Suster, received upon the authority of Sandrart, not always very critical, are, I have reason to think, one and the same artist. For in Venice one Lamberto only is alluded to by Ridolfi, Boschini, and Zanetti, without a surname, but by the last held to be the same as Lombardo; and what signifies it, whether he was called Suster or Susterman, of Germany, or of Liege, in Italy.] [Footnote 57: He is called by Vasari, Zanetti, and Guarienti, Bazzacco and Brazzacco da Castelfranco, and Guarienti makes him a scholar of Badile.] [Footnote 58: They consist only of a few pages relating to the painters of Castelfranco. I cannot explain why Padre Federici (Pref. p. 17) supposes that I should have announced this as the MS. Melchiori, although Sig. Trevisani may have drawn various notices from that quarter.] [Footnote 59: Padre Coronelli, in his Travels in England, (part i. p. 66), ascribes this picture to Paul Veronese, a mistake that is cleared up by the tenor of the contract, preserved in the archives of San Liberale. He adds that the picture contained a number of naked figures, to which draperies were afterwards adapted by another hand--an assertion wholly groundless.]