The artists of Friuli availed themselves of it less early, not having sufficiently imbibed the principles of modern taste, even as late as the year 1500, either, in the opinion of Rinaldis, from the secluded situation of the place, or from the disturbed and revolutionary character of the times. Hence it is that the provincial painters of that period are to be referred wholly to this, not to the subsequent era of the art. To such belongs Andrea Bellunello, of San Vito, whose masterpiece is a Crucifixion, among various saints, with the date of 1475, exhibited in the great council chamber at Udine. It has some merit in regard to the size, and the distribution of its figures; but displays neither beauty of forms, nor colour, and we might almost pronounce it an ancient piece of tapestry, when placed by the side of a beautiful picture. Nevertheless, in his own district, he was considered the Zeuxis and Apelles of his age.[23] Contemporary with him, was Domenico di Tolmezzo, who painted an altarpiece in various compartments for the cathedral of Udine; a Madonna, in the taste of those times, with some saints, figures which all partake of the ancient Venetian style, even to the colouring, insomuch that one might believe him to have been a disciple of that school. He has attached his name and the year, 1479, and it would appear that there belonged to the same piece, exhibiting a figure of the blessed Bertrando, Patriarch of Aquileja, two oblong tablets, one of which represents his offering of alms, the other the circumstances of the death he suffered. The whole of these paintings, which I have noticed, are tolerably executed, in particular the two histories, and are preserved in two chambers of the Canonica. Not far from the same place is seen a figure of the saint, in fresco, painted by Francesco de Alessiis, in 1494, and placed over the door of a house, formerly the college of S. Girolamo.