The last name to be enumerated in this class, is that of Pomponio Amalteo, a native of San Vito, and of a noble family which yet boasts its descendants at Uderzo. He was one of the most excellent of Giannantonio's pupils, and introduced his master's style into the Friuli, for which reason we shall here give him a place, together with the whole of his followers. He was son-in-law to Pordenone, and the artist who succeeded him in his school at Friuli. Both there and in other places he employed himself in works of distinguished merit. He preserved the manner of his father-in-law, as has been observed by Ridolfi, who erroneously ascribes to Licinio the Three Judgments, indisputably the production of Amalteo, which he represented in a gallery at Ceneda, in which causes are decided. They consist of the Judgment of Solomon, of that of Daniel, and a third of Trajan; the whole completed in the year 1536. It is everywhere evident that he aspired to originality of manner; his shading is less strong, his colours are brighter, and the proportions of his figures, and all his ideas are upon a less elevated scale than those of his father-in-law. Some faint idea of his works may be gathered from Vasari and Ridolfi, who omitted, however, many of them, among others the five pictures of Roman histories adorning the Hall of the Notaries at Belluno: but it is only some faint idea, inasmuch as neither these two writers, nor Altan, who collected memorials of him in a little work, were at all enabled to do full justice to the labours of an artist who continued to occupy himself, assisted by various other hands, until the latest period of his life. Hence it is that the bulk of his works can by no means boast the same degree of excellence as the Three Judgments we have mentioned, or the picture of S. Francis, at the church of that name, in Udine, esteemed one among the valuable pieces belonging to the city. Still, wherever or upon whatever subject he employed himself, he displayed the powers of a great master, educated by Pordenone; and one who not only shewed himself, with the generality of Venetians, a splendid colourist, but designed far more accurately. The same merit continued, for some period, to characterize his successors, who, however, if I mistake not, were greatly inferior to him in genius; excepting only his brother, with whom we shall commence the history of Pomponio's School.