It was only in the next generation, when the attention of painters themselves was powerfully concentrated upon the reproduction of strongly pronounced types of humanity, that they began to make portraits as full of life and energy as Donatello's busts of the previous period. Even then, however, the full face was rarely attempted, and it was only in the beginning of the sixteenth century that full-face portraits began to be common. The earliest striking achievement of this sort, Mantegna's head of Cardinal Scarampo (now in Berlin), was not the kind to find favour in Venice. The full-face likeness of this wolf in sheep's clothing brought out the workings of the self-seeking, cynical spirit within too clearly not to have revolted the Venetians, who looked upon all such qualities as impious in the individual because they were the strict monopoly of the State. In the portraits of Doges which decorated the frieze of its great Council Hall, Venice wanted the effigies of functionaries entirely devoted to the State, and not of great personalities, and the profile lent itself more readily to the omission of purely individual traits. It is significant that Venice was the first state which made a business of preserving the portraits of its chief rulers. Those which Gentile and Giovanni Bellini executed for this end must have had no less influence on portraiture than their mural paintings in the same Hall had on other branches of the art. But the State was not satisfied with leaving records of its glory in the Ducal Palace alone. The Church and the saints were impressed for the same purpose--happily for us, for while the portraits in the Great Hall have perished, several altar-pieces still preserve to us the likenesses of some of the Doges.