He produced still nobler specimens of his genius in the college of San Girolamo, which rivalled those of Giovanni Bellini, without, in this instance, yielding to them. His character, which might frequently be confounded with that of Gentile, shines most conspicuous, perhaps, in his altarpieces, where he is original in almost every composition. The most celebrated in Venice is one of the Purification at San Giobbe, in which, however, the S. Vecchio Simeone is represented in a pontifical dress, between two servants arrayed like cardinals. If we except this error, in point of costume, and add a little more warmth of colours to the flesh, more delicacy of contour, the piece would not discredit the first artist of any times. Owing to the fault of his early education, however, these qualities he never attained. This, also, happened to Lazzaro Sebastiani, his disciple and follower; to Giovanni Mansueti, to Marco, and to Pietro Veglia, as well as to Francesco Rizzo, of San Croce, a territory in the district of Bergamo;[31] artists who, however nearly they touched upon the golden period, did not succeed in freeing themselves from the influence of the old and uniform taste, and for this reason are often confounded with each other. I do not here treat of the paintings left by them at Venice, as they have so frequently been described elsewhere. It will be enough to inform the reader that in these, also, we discover several noble traces of the style of Gentile and Carpaccio, more especially in the architecture, and that their colouring, which, in this school, is considered cold and languid, would be termed, in several of the others, both soft and animated enough for that period. The one who, if I mistake not, approaches nearer to the modern, and in some degree towards the style of Giorgione, is Benedetto Diana, as well in his altarpiece of Santa Lucia, at the SS. Apostoli, as in the Limosina de' Confratelli di San Giovanni, painted at their college in competition with the Bellini.