Fabrizio di Ettore traced his origin to another branch of the Vecellj. His name had hitherto been confined within his native spot of Cadore, until brought to light by Rinaldis, who gives some account of a fine painting he executed for the council hall of the parish, and for which he was paid sixteen gold ducats, no despicable sum at the period when he flourished. He died in the year 1580. His brother, of the name of Cesare, was likewise long unknown to pictorial history, although his productions are pointed out at Lintiai, at Vigo, at Candide, and at Padola. His name is more familiar to engravers, inasmuch as he gave to the world two works of Etchings, during the period of his residence in Venice. One of these, at present very scarce, contains, "Ogni sorte di mostre di punti tagliati, punti in aria," &c. The other is upon "ancient and modern costume," and has been several times republished, and once in 1664, with a false title; where Cesare is mentioned as a brother of the great Titian. A third Vecellio, an artist of the name of Tommaso, has, in a similar way, sprung into notice, one of whose productions, consisting of a _Nunziata_, is preserved in the parish church of Lozzo, as well as a Supper of our Lord, both which the historian pronounces estimable. This artist died in 1620. Another scion from the stock, though not from the studio of Titian, is Girolamo Dante, otherwise Girolamo di Tiziano, and first among his followers to be here mentioned. He was educated and employed, both as a scholar and assistant, by Titian, in his less important works. And in fact, by dint of assisting and copying the originals of his master, he attained such a degree of excellence, that such of his pieces as were retouched by Titian, bid defiance often to the most exact connoisseurs. He also produced works of design, and the altarpiece attributed to him at San Giovanni in Olio, reflects credit upon so great a school. Domenico delle Greche, named in the dictionary of artists, Domenico Greco, and in another article, Domenico Teoscopoli, was an artist employed by Titian in engraving his designs. The very copious print of the Submersion of Pharaoh, to say nothing of the others, is sufficient proof of his worth in this kind of engraving. No specimen of his painting is pointed out with certainty in Italy; many, however, in Spain, where, having accompanied his master thither, he resided during the remainder of his days. There, too, he produced portraits and altarpieces, which, according to Palomino, appeared to be from the hand of Titian himself. But he entered upon a new style, in which he altogether failed, and for a more particular account of this artist we must here refer the reader to the _Lettere Pittoriche_, (vol. vi. p. 314).