works of his own special school, but fascinated in the long run the painters of the specifically Milanese group which sprang from Foppa and Borgognone--such men as Ambrogio de' Predis, Bernardino de' Conti, and, indeed, the somewhat later Bernardino Luini himself. To the fashion for the Bellinesque conceptions of a certain class, even Alvise Vivarini, the vigorous head of the opposite school in its latest Quattrocento development, bowed when he painted the Madonnas of the Redentore and S. Giovanni in Bragora at Venice, and that similar one now in the Vienna Gallery. Lorenzo Lotto, whose artistic connection with Alvise Mr. Bernard Berenson was the first to trace, is to a marked extent under the paramount influence of Giovanni Bellini in such works as the altar-piece of S. Cristina near Treviso, the _Madonna and Child with Saints_ in the Ellesmere collection, and the _Madonna and Child with St. Peter Martyr_ in the Naples Gallery, while in the _Marriage of St. Catherine_ at Munich, though it belongs to the early time, he is, both as regards exaggerations of movement and delightful peculiarities of colour, essentially himself. Marco Basaiti, who, up to the date of Alvise's death, was intimately connected with him, and, so far as he could, faithfully reproduced the characteristics of his incisive style, in his later years was transformed into something very like a satellite of Giovanni Bellini. Cima, who in his technical processes belongs rather to the Vivarini than to the Bellini group, is to a great extent overshadowed, though never, as some would have it, absorbed to the point of absolute imitation, by his greater contemporary.