Of Bellini's contemporaries and followers there were many, and as a school there was a similarity of style, subject, and color-treatment carrying through them all, with individual peculiarities in each painter. After Giovanni Bellini comes Carpaccio (?-1522?), a younger contemporary, about whose history little is known. He worked with Gentile Bellini, and was undoubtedly influenced by Giovanni Bellini. In subject he was more romantic and chivalric than religious, though painting a number of altar-pieces. The legend was his delight, and his great success, as the St. Ursula and St. George pictures in Venice still indicate. He was remarkable for his knowledge of architecture, costumes, and Oriental settings, put forth in a realistic way, with much invention and technical ability in the handling of landscape, perspective, light, and color. There is a truthfulness of appearance--an out-of-doors feeling--about his work that is quite captivating. In addition, the spirit of his art was earnestness, honesty, and sincerity, and even the awkward bits of drawing which occasionally appeared in his work served to add to the general naive effect of the whole. [Illustration: FIG. 37.--ANTONELLO DA MESSINA. UNKNOWN MAN. LOUVRE.] Cima da Conegliano (1460?-1517?) was probably a pupil of Giovanni Bellini, with some Carpaccio influence about him. He was the best of the immediate followers, none of whom came up to the master. They were trammelled somewhat by being educated in distemper work, and then midway in their careers changing to the oil medium, that medium having been introduced into Venice by Antonello da Messina in 1473. Cima's subjects were largely half-length madonnas, given with strong qualities of light-and-shade and color. He was not a great originator, though a man of ability. Catena (?-1531) had a wide reputation in his day, but it came more from a smooth finish and pretty accessories than from creative power. He imitated Bellini's style so well that a number of his pictures pass for works by the master even to this day. Later he followed Giorgione and Carpaccio. A man possessed of knowledge, he seemed to have no original propelling purpose behind him. That was largely the make-up of the other men of the school, Basaiti (1490-1521?), Previtali (1470?-1525?), Bissolo (14641528), Rondinelli (1440?-1500?), Diana (?-1500?), Mansueti (fl. 1500).