A room in the Accademia is devoted to examples of the works of the Friulian school, a group of painters working in the capital, Udine, and other towns and villages of the northernmost Venetian territory during the second half of the fifteenth and first half of the sixteenth centuries. Of Martino da Udine (Pellegrino da S. Daniele), the Accademia possesses three examples. No. 151, an Annunciation, is a replica of the same subject in his best work, the series of frescoes in the church of S. Antonio, at S. Daniele, near Udine. Pictures by him have been assigned to Giorgione. A greater man than Martino came to Venice from Pordenone, about thirty miles from the capital, his pupil Giov. Ant. Sacchiense, known as Pordenone. He was an artist of power, but who showed that pride in technical skill so characteristic of a declining art. He parades his anatomical knowledge and science of foreshortening, with all Michael Angelo’s daring, but with none of his genius. Most of his works are on the mainland, but one characteristic altar-piece, No. 316, and three other paintings are in the Accademia in Venice. In the cloister at S. Stefano are some frescoes (in which medium he excelled), now almost ruined, and a St Sebastian, better preserved, in the church of S. Rocco, where also is a fine painting of St Christopher and St Martin. Another good work is the altar-piece--S. Rocco, St Sebastian and St Catherine--in S. Giov. Elemosinario. His Entombment, in the Monte di Pietà at Treviso, has been ascribed to Giorgione. He was working in Venice in the early half of the sixteenth century, and died at Ferrara in 1539. The name of Bonifazio is associated with a remarkable revolution and counter-revolution in the history of criticism. Vasari and the older writers knew but one painter of that name, who was called by some Bonifazio of Verona, by others, of Venice. In 1864 Bernasconi, by the aid of documentary evidence, discovered two Bonafazios; and in 1877 Morelli,[76] by applying his famous method (the shape of the ears, outline of the bodies and other similar criteria) evolved three, who were distinguished as Bonifazio I., II., and III. With few exceptions the whole of the works in European Galleries, including the Accademia of Venice, formerly attributed to one Bonifazio, were then grouped under these three heads, and re-catalogued. [Illustration: ON THE STEPS OF THE REDENTORE.]