[Footnote 31: We find traces of his paintings from the year 1507. See Tassi, in his _Lives of the Painters, &c._ p. 56, where he corrects a mistake of Zanetti, who, instead of one painter, had divided him into two. One of his pictures, in the parish church of Endine, will remove every doubt. There he signed himself, _Franciscus Rizus Bergomensis habitator Venetiis, 1529_. In another piece, in the parochial church of Serina, he wrote _Francesco Rizo da Santa Croxe depense, 1518_. His last work, of which I find any account, is also in the parochial church of Chirignano, in the Mestrina, dated 1541. Father Federici, who describes it, makes Francesco the son of Girolamo da S. Croce, or S. Croce, whose name we find subscribed in both ways, but not ever Rizo. I cannot agree with him, first, because Ridolfi says only, (p. 62,) that they were of _the same family_; second, because the pictures of Girolamo, according to Tassi, commence later, and are traced also later than those of Francesco, that is in 1549; and thirdly, because the style of Girolamo is incomparably more modernized, as we shall presently shew.] [Footnote 32: Morelli _Notizia_, p. 212.] [Footnote 33: In the _Statuti de' Pittori_, it is written Mireti; and the same work contains memoirs of him in 1423 and 1441; years, however, which do not accord with his dependence on the Bellini. This Girolamo might possibly have been the brother, or other relation, of that Gio. Miretto, for whom see p. 13. These two names will do away with the _Moreto_ of Vasari, and we must substitute Mireto or Miretto.] [Footnote 34: I repeat the epigram, which is subscribed in ancient characters, on the strength of which we may believe that the work was esteemed one of the most valuable the art had produced up to that period, transcribed by the very frequently commended Sig. Co. Cav. Lazara; it is thus: Non hic Parrhasio, non hic tribuendus Apelli, Hos licet Auctores dignus habere labor. Euganeus, vixdum impleto ter mense, Jacobus Ex Montagnana nobile pinxit opus.] [Footnote 35: He is thus named in the "Statuti de' Pittori," of Padua, and in the _MS. Zen._ whence we may correct Ridolfi, who calls him Girolamo.] [Footnote 36: In vol. iii. ed. Rom. p. 427, it is written by mistake Mantegna, where it says that he, Speranza, and Veruzio, studied design under Mantegna.]