The greater number of Bellini's pictures are to be found in the galleries and churches in Venice, all of those which are dated being the work of his old age. Of his earlier pictures we are fortunate in having two fine examples in the National Gallery, _Christ's Agony in the Garden_ (No. 726) and _The Blood of the Redeemer_ (No. 1233). In both of these the influence of his famous brother-in-law Andrea Mantegna, is traceable,--the former being till lately attributed to him. Both Giovanni and Gentile worked in Padua, where Mantegna was established, in 1460 or thereabouts, and where another influence, that of the sculptor Donatello, must have had its effect on the young brothers. Similar in character, and even more beautiful in some respects, is the _Redeemer_, a single half figure in a landscape, recently acquired for the Louvre--the first authentic example of the master in that collection. In 1464, Giovanni had returned to Venice, and it was some years before the severe Paduan influence melted before "the sensuous feeling of the true Venetian temperament." In 1475, however, the arrival of Antonello da Messina in Venice, bringing with him the practice of painting in oil, effected a revolution, in which Giovanni, if not one of the foremost, was certainly one of the most successful in adopting the new method. His later works, so far from showing any diminution of power, may be said to anticipate the Venetian style of the sixteenth century in the clearest manner. One of the chief, dated 1488, is the large altar-piece in the sacristy of S. Maria di Frari, a _Madonna Enthroned_ with two angels and four saints. The two little angels are of the utmost beauty; the one is playing on a lute, and listens with head inclined to hear whether the instrument is in tune; the other is blowing a pipe. The whole is perfectly finished and of a splendid effect of colour. To the year 1486 belongs a _Madonna Enthroned with Six Saints_, now in the Academy at Venice. The famous head of the Doge Loredano in the National Gallery must have been painted in or after 1501. In 1507, he completed the large picture of _S. Mark Preaching at Alexandria_, now in the Brera Gallery at Milan, begun by his brother Gentile. Within three years of his death, namely in 1513, he could produce such a masterwork as the altar-piece in S. Giovanni Crisostomo. His last work, the landscape in which was finished by Titian, is dated 1514. This is the famous _Bacchanal_ now in the collection of the Duke of Northumberland.