Under the Carolingian monarchs there developed a school of painting derived from classical models, chiefly of the Byzantine type. In this school, which owed its origin to the encouragement of Charlemagne, it is seen that the miniature appears in two forms. First, there is the truly conventional miniature following the Byzantine model, the subjects being generally the portraits of the Four Evangelists, or portraits of the emperors themselves: the figures formal; the pages brilliantly colored and gilded, generally set in architectural surroundings of a fixed type, and devoid of landscape in the real sense of the word. Accompanied as it was with profuse decoration in border and initial, it set the pattern for the later Continental schools of the West. On the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the Bible. Here there is more freedom; and we trace the classical style which copies Roman, as distinguished from Byzantine, models.