[Footnote 60: In a MS. by a contemporary author cited in the new Guide of Padua, he is called Domenico Veneziano, educated by Julio Campagnola.] [Footnote 61: Thus stated in the _Lettere Pittoriche_, vol. i. p. 248. Recent writers of Friuli make him a native of Udine, a modern supposition, inasmuch as Grassi, a very diligent correspondent of Vasari, would hardly have been silent upon such a name. It took its rise, most likely, from the existence of a noble family of the same surname, in Udine, and from three of the artist's pictures having been discovered in the same place, one with the date 1595. Yet none are to be seen at Casa Frangipane, a circumstance very unusual in regard to excellent artists. We must look, therefore, for other proofs before we can pronounce him a native of Udine, and before we can assent to the conjecture of Rinaldis, who would admit two artists of the name of Niccolo Frangipane, the one a painter by profession, and the other a dilettante; and yet contemporaries, as appears from the authority of the dates of the pictures, already referred to.] [Footnote 62: This fact cannot easily be refuted, in the manner attempted by Zaist, in his "Historical Notices of the Cremonese Painters," with true party zeal, p. 162. (See the New Guide of Milan, p. 139.)] [Footnote 63: To these the name of _Francesco da Milano_ has recently been added, on the strength of an altarpiece, quite _Titianesque_, exhibited with his name in the parish church of Soligo, to which is added the date of 1540:--time may probably clear up the mystery of this.] [Footnote 64: He flourished several years subsequent, as appears from the _New Milan Guide_, with MS. corrections, by Signor Bianconi, of which the Cavalier Lazara has a copy. He there remarks that he had seen in the greater monastery, now suppressed, belonging to the nuns of San Maurizio, other paintings by Piazza; as Washing the Disciples' feet, in the Refectory, and the Multiplication of Loaves, upon canvass. Also within the interior church, among other scriptural stories in fresco, is found, the Adoration of the Magi, the Marriage of Cana, and the Baptism of Christ, bearing the date of 1556.] [Footnote 65: Zanetti, p. 147. See also Ridolfi, parte ii. p. 10, where he informs us that Tintoret, in the maturity of his powers, being employed in painting for the church of La Trinità, Adam and Eve seduced by the Serpent, and the Death of Abel, "designed the figures from nature, placing over them a thin veil. To which figures he added a peculiar grace of contours, which he acquired from studying relievi."]