We must bear in mind that every great man was surrounded by busy and attentive satellites, helping him to finish and, indeed, often painting a large part of important commissions, witnesses of the high prices received, and alive to all the gossip as to the relative popularity of the painters and the requests and orders which reached them from all quarters. The painters' own sons were in many instances those who first traded upon their fathers' fame. From Ridolfi, Zanetti, or Boschini we learn of the many paintings executed by Carlotto Caliari and the vast numbers painted by Domenico Robusti in the style of their respective fathers. Domenico seems to have particularly affected the subject of "St. George and the Dragon," and the picture at Dresden, which passes under Tintoretto's name, is perhaps by his hand. Of Bassano's four sons, Francesco "imitated his father perfectly," conserving his warmth of tint, his relief and breadth. Zanetti enumerates a surprising number of Francesco's works, seven of them being painted for the Ducal Palace. Leandro followed more particularly his father's first manner, was a good portrait-painter, and possessed lightness and fancy. Girolamo copied and recopied the old Bassano till he even deceived connoisseurs, "how much more," says Zanetti, writing in 1771, "those of the present day, who behold them harmonised and accredited by time." No school in Venice was so beloved, or lent itself so well to the efforts of the imitators, as that of Paolo Veronese. Even at an early date it was impossible not to confound the master with the disciples; the weaker of the originals were held to be of imitators, the best imitations were assigned to the master himself. "Oh how easy it is," exclaims Zanetti again, "to make mistakes about Veronese's pictures, but I can point out sundry infallible characteristics to those who wish for light upon this doubtful path; the fineness and lightness of the brushwork, the sublime intelligence and grace, shown particularly in the form of the heads, which is never found in any of his imitators." Few Venetians, however, followed the style of only one man; the output was probably determined and varied by the demand. Too many attractive manners existed to dazzle them, and when once they began to imitate, they were tempted on all hands. It must also be remembered that every master left behind him stacks of cartoons, sketches and suggestions, and half-finished pictures, which were eagerly seized upon, bought or stolen, and utilised to produce masterpieces masquerading under his name.