In the course of time, Amalteo, having bestowed two of his daughters in marriage, appears to have obtained the assistance of his sons-in-law, both painters, and promoted by him in the progress of their art. Quintilia, who had the reputation of a fine genius, familiar with the principles both of painting and engraving, and more particularly excellent in portraits, became united to Gioseffo Moretto, of Friuli, although there remains only a single altarpiece of his in the Friuli, in the province of San Vito, bearing the following inscription: _Inchoavit Pomponius Amalteus, perfecit Joseph Moretius, anno 1588_; a short time previous to which date, his father-in-law had resigned his profession with his life. The other daughter espoused Sebastiano Seccante, mentioned by Ridolfi, and esteemed in Udine for his two grand pictures embellished with fine portraits, with which he ornamented the castle of the city; and still more so for several of his altarpieces. Of these there is one at San Giorgio, representing the Redeemer, suffering under the cross, between various figures of cherubs, holding other instruments of his passion; a piece that displays all the excellent maxims derived from his education. This artist may be pronounced the last of the great school, whose productions do credit to a good collection. His brother, Giacomo, who did not apply himself to painting until he had attained his fiftieth year; Sebastiano, the son of Giacomo, who became early initiated in the art, without even equalling his father, with their relative Seccante, who lived at the same period, were none of them esteemed, even in Udine, beyond mediocrity in their respective lines. Two natives, however, of San Vito, named Pier Antonio Alessio, and Cristoforo Diana, were much commended by Cesarini, one of Amalteo's contemporaries. They were employed in their studies at the very period that the former wrote his dialogue; though there remain no memorials of Pier Antonio, similar to those of Cristoforo, of whom Altan discovered several specimens at San Vito, in a very good style, besides one preserved in the monastery of Sesto, bearing traces of his name, which he had inscribed upon it. We shall close this catalogue with the name of another disciple of Amalteo, belonging to San Daniele, where, among some other remains, there is a tolerably good fresco, preserved in the façade of one of the inns in the suburbs of the place. It represents the Virgin, seated with the divine child, her throne surrounded by S. Thomas the Apostle, and S. Valentine, along with other saints; and it bears the inscription, _Opus Julii Urbanis, 1574_; it partakes of the taste of Amalteo, and of Pordenone, the succession of whose school we have just completed, history affording us no farther materials for description.