Thanks to recent archival and historical researches it is now possible to specify the identity of some personalities told in the Lives of Van Mander relating and in close contact with Hans von Aachen. The reconstruction of Venice and Treviso context, in which the artist moves, shows a thick network of relationships woven by Flemish and German communities. The presence of a portrait by Hans von Aachen in the collection of paintings of Francesco Vrients is information very valuable: firstly outlines the painter as an intimate friend of the family Vrients, and in the same time the discovery of the inscription on the drawings of Cephalus and Procri (presented for this exhbition) it is an important pointer for profiling the Vrients-circle and its relationships with the flemish jewellers lobby. Indeed is him the collector of Maastricht mentioned by Van Mander and one of the most eminent flemish personality in the lagoon, around whom, probably, gravitated intellectuals and artists: is a fact that in his house, in Campo Santa Maria Formosa, found hospitality the literate Pieter Cornelisz de Hooft on the occasion of his trip in Italy in 1599. Additional documents shall also specify the role of Gaspar Rem in a venetian and international context: his strong tie to the circle of the “Sadelers” who, especially with a shrewd art dealer like Giusto, play a crucial role promoting artists “Oltramontani” weaving friendship with Dirck de Vries, Rottenhammer, Joannes Koenig to name a few.