The emperor surrendered and Trebizond became part of the Ottoman empire. A large party of the population was subsequently sent to repeople Constantinople.[522] [Sidenote: Mahomet as conqueror.] Mahomet’s biographers claim that he conquered two empires and seven kingdoms: those of Serbia, Bosnia, Albania, Moldavia, Morea, Caramania, and Kastemouni. The two empires may be admitted; the seven kingdoms can only be said--even where they are entitled to take rank as kingdoms--to have been conquered by Mahomet, with the reserve that he reaped where his ancestors had sown. But with this proviso the statement is sufficiently near the truth to be accepted. If his successes had been equal to his ambition or to his designs he might fairly be classed with the world’s great military leaders. He fought, however, with far less success than Alexander, who was his great exemplar, and almost always with the advantage of overwhelming numbers. His progress was checked by the courage of John Hunyadi and the Hungarians. Scanderbeg continued for twenty years, with comparatively few followers and small resources, to wage guerilla warfare against him, and the knights of St. John triumphantly repelled his attacks upon Rhodes. Nor was he able to defeat the power of Persia. [Illustration: MAHOMET THE CONQUEROR. From a painting formerly in the Sultan’s palace at Top Capou at Constantinople, and attributed to Gentile Bellini. I am unaware by whom the photograph was taken or where the original picture now is.] [Illustration: MAHOMET II. From a medallion in the British Museum, which, according to Sir A. H. Layard, was probably executed by Gentile Bellini from the portrait painted in 1480 by Bellini himself. The portrait is in the possession of Lady Layard, and an engraving of it is given in Sir A. H. Layard’s edition of Kugler’s ‘Italian Schools of Painting’ (vol. i. p. 304). Though the two portraits are surrounded with very similar and beautiful arabesque arches and evidently are of the same person, that of Sir Henry Layard differs from the one reproduced on the opposite page in showing a more receding chin and a thinner beard than even the medallion. The name of Gentile Bellini appears on both paintings.]