reliefs of the Lion and of Doge Foscari are modern reproductions, but the original head of Foscari, preserved in the palace still, bears witness to the genius of this great craftsman.[63] He must not be confounded with another Bartolomeo Buon, known as Master Bartolomeo of Bergamo, also claimed as a native of Venice, who in 1493 superintended the painters in the Ducal Palace, and in 1500 presided over the works designed by Pietro Lombardo for the Procuratie Vecchie. Certain craftsmen dubbed Riccio or Rizzo (Curly pate) now claim attention. Their identity is much canvassed by Italian authorities. Before the use of surnames became common it was the custom to refer to contemporaries by their Christian or nicknames to the confusion of biographers and critics. We meet with three Ricci who are stated to have worked at Venice, (1) Andrea Riccio of Padua living about 1400, who is said by Vasari to have executed the statues of Adam and Eve to be referred to presently. (2) Antonio Riccio or Rizzo, sometimes called Briosco, of Verona, who, according to Zanotto[64] was employed by the Republic to assist Antonio Loredan at the siege of Scutari.[65] He returned, after most effective service, covered with wounds, and the grateful Senate voted him and his sons in 1483 a pension for twenty years, and appointed him architect of the Ducal Palace after the fire in the same year, authorising him to draw for funds on the salt office. To him, and not to Andrea, are ascribed by Zanotto the masterly statues of Adam and Eve in the niches opposite the Scala dei Giganti, the Scala itself and the adjoining façade in the cortile and the rio façade. These on Francesco Sansovino’s authority are more commonly attributed to Antonio Bregno (also called Il Riccio or Rizzo). He is said to have been a contemporary of Scarpagnino (Antonio Scarpagni), who, in 1514, submitted designs for the new stone Rialto Bridge, and succeeded Sante Lombardo in the erection of the Scuola di S. Rocco. Bregno, however, is a mysterious figure who, so Zanotto declares, either never existed or was none other than Riccio the Veronese. It is clear, however, from the annals of Malipiero that in 1498, one Antonio Riccio or Rizzo, architect of the Ducal Palace, after spending 80,000 ducats left the work not half done, that he had by forged vouchers defrauded the Salt Office to the extent of 12,000 ducats, and bolted to Foligno, where he soon died.[66] To the family of Venetian masters (or, according to some authorities, Lombard immigrants from Carona on Lake Lugano), known as the Lombardi, are due the most beautiful and original of the early renaissance architecture and sculpture in Venice. Pietro Lombardo, said to have been the son of a mason named Martino, was working in Venice in 1462. In 1481 his design for the Church of the Miracoli was chosen, and the building was erected under his superintendence. When Ant. Riccio fled from Venice, Pietro succeeded him at the Ducal Palace, with a salary of 120