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In that same church the same Marco painted S. Bernardino on a rock, with other saints. Giovanetto Cordegliaghi made an infinity of devotional pictures in the same city; nay, he scarcely worked at anything else, and, in truth, he had in this sort of painting a very delicate and sweet manner, no little better than that of the aforesaid masters.

There lived, then, in the March of Treviso and in Lombardy, during a period of many years, Stefano Veronese, Aldigieri da Zevio, Jacopo Davanzo of Bologna, Sebeto da Verona, Jacobello de Flore, Guerriero da Padova, Giusto, Girolamo Campagnola and his son Giulio, and Vincenzio Bresciano; Vittore, Sebastiano, and Lazzaro Scarpaccia, Venetians; Vincenzio Catena, Luigi Vivarini, Giovan Battista da Conigliano, Marco Basarini, Giovanetto Cordegliaghi, Il Bassiti, Bartolommeo Vivarini, Giovanni Mansueti, Vittore Bellini, Bartolommeo Montagna of Vicenza, Benedetto Diana, and Giovanni Buonconsigli, with many others, of whom there is no need to make mention here.

Dolce particularly emphasises his youthfulness at the time, calling him un giovanetto, a phrase he twice applies to him in the next paragraph, when he is describing the famous altar-piece of the 'Assunta, the commission for which, as we know from other sources, was given in 1516.