Footnote 5: This information, taken from Tiraboschi, does not seem to favour the system of Father Federici, who says, that in the fourteenth century names were frequently shortened, adducing, at the same time, several examples, (vol. i. p. 53). He thus explains how _Buzzaccarino_ became _Bizzarrino_, _Barisino_, _Borasino_, with many more strange terms in Trevigi. Now why might not this artist's name become _Bassino_, in Modena? And if in reading _Tommaso di Bassino da Modena_ in the authorities of Tiraboschi, every one perceives the name of the painter, that of the father, and of the country to which he belonged; then why, on reading upon pictures _Tommaso di Barisino_, or _Borisino, da Modena_, are we bound to believe this last the name of a family; and so much more, as there were then few families distinguished by their surnames? Tommaso, therefore, wished it to be understood that he came from Modena; and if this became a surname which distinguished his family in Trevigi, it must have been at a later period, when he knew nothing of it. In the smaller capitals, also, about this period, flourished artists of considerable merit. Reggio still boasts a Madonna of Loreto, painted in the dome by the hand of Bernardino Orsi, with the date of 1501; while in S. Tommaso, and elsewhere, we meet with some paintings of Simone Fornari, also called Moresini, and of Francesco Caprioli. I mention them here, not so much on account of the period which they adorned, as for the resemblance of their manner to the two Francia, more especially Fornari; many of his pictures having been attributed to those distinguished ornaments of Bologna.