If Cima possessed originality, Vincenzo of Treviso, called Catena, gained an immense reputation by his industry and his power of imitating and adopting the manner of Bellini's School. In those days men did not trouble themselves much as to whether they were original or not. They worked away on traditional compositions, frankly introducing figures from their master's cartoons, modifying a type here, making some little experiment or arrangement there, and, as a French critic puts it, leaving their own personality to "hatch out" in due time, if it existed, and when it was sufficiently ripened by real mastery of their art. It is here that Catena fails; beginning as a journeyman in the Sala del Gran Consiglio, at a salary of three ducats a month, he for long failed to acquire the absolute mastery of drawing which was possessed by the better disciples of the schools. But he is painstaking, determined to get on, and eager to satisfy the continually increasing demand for work. His draperies are confused and unmeaning, his faces round, with small features, inexpressive button mouths, and weak chins, and his flesh tints have little of the glow which is later the prerogative of every second-rate painter. Yet Catena succeeds, like many another careful mediocre man, in securing patronage, and as the sixteenth century opened he gained the distinction from Doge Loredano of a commission to paint the altarpiece for the Pregadi Chapel of the Sala di Tre, in the Ducal Palace. He adapts his group from that of Bellini in the Cathedral of Murano, bringing in a profile portrait of the kneeling Doge, of which he afterwards made numerous copies, one of which was for long assigned to Gentile and one to Giovanni Bellini. That Catena is not without charm, we discern in such a composition as his "Martyrdom of St. Cristina," in S. Maria Mater Domini, in which the saint, a solid, Bellinesque figure, kneels upon the water, in which she met her death, and is surrounded by little angels, holding up the millstone tied round her neck, and laden with other instruments of her martyrdom. Catena borrows right and left, and tries to follow every new indication of contemporary taste. For instance, he remarks the growing admiration for colour, and hopes by painting gay, flat tints, in bright contrast, to produce the desired effect.