frequently featured bright colors, decorative architecture, detailed drapery, and sharp angles. Despite the bright colors and sharp angles, the human figures pictured in them were often fuller and softer. Late works (1507–1522) The last known dated painting of Montagna's is from 1507 although there are many paintings that have been dated by scholars after this time. Paintings from the last 15 years of his life are often considered a decline from the height of his career. His style was noticeably different in the years he spent in Padua (1509-1514), showing more landscapes, sunsets and warm colors incorporated with his signature architecture look. His style was more inconsistent, but often included fuller figures, deep shadows and less angular details. Examples of works Montagna's time in Padua featuring this style are the Exhumation of St. Anthony for the Scuola di San Antonio and the Virgin and Child with Four Saints in Saint Maria in Vanzo. In 1517 Montagna returned to Vicenza. In 1522 he was commissioned by the Scuola di San Giuseppe to paint an altarpiece for Cologna Veneta. This depicts the Virgin, Child, 3 shepherds, and St. Joseph and St. Sebastian. Influences There is no written record of Montagna's training as a painter but there are many speculations and debates about his influences. In the second edition of Vasari's Lives, Vasari mentions that Montagna learned to draw from Andrea Mantegna but does not specify if he did this as an actual pupil or if he just privately studied Mantegna's works. It is generally agreed on that Montagna was influenced by Giovanni Bellini, Antonello da Messina, and Alvise Vivarni. It is generally accepted that Bellini had the most prolific influence on Montagna's works, but to whether he was actually a pupil of any of these artists and in what order is highly debated. Montagna's use of intricate and angular drapery is linked to the works of Vivarni. His works inspired by Antonello are characterized by rounded forms whereas those inspired by Bellini feature thinner and sharper figures. His transition to use of brighter and richer colorings later in life are also attributed to Bellini's influence. A drawing with a previously mistranslated note was attributed to Montagna, but has now been identified as a gift from Bellini to Montagna. This still however does not confirm Bellini as Montagna's master as it was common among artists of the renaissance to gift each other drawings.