Crivelli continued executing one great ancona after another, limiting his progress to perfecting his technique, and his influence was most deeply felt by such Umbrian painters as Lorenzo di San Severino and Niccola Alunno. The honours paid him testify to the reputation he acquired. He was created a knight and presented with a golden laurel wreath. But though he never, that we can hear of, revisited his native State, he always adds _Venetus_ to the signature on his paintings, a fact which tells us that far from Venice and in provincial districts, her prestige was felt and gave his work an enhanced commercial value. He had no after-influence upon the Venetian School, and in this respect is interesting as an example of the tenacity exercised by the Squarcionesque methods, when, unchecked by any counter-attraction, they came to act upon a very different temperament; for in his love of grace and beauty and of rich effects, and especially in his intensity of mystic feeling, Crivelli is a true Venetian and has no natural affinity with the classic spirit of the Paduans. PRINCIPAL WORKS Venice. SS. Jerome and Augustine. Ascoli. Duomo: Altarpiece and Pietà. Berlin. Madonna and six Saints. London. Pietà; The Blessed Ferretti; Madonna and Saints; Annunciation; Ancona in thirteen compartments; The Immaculate Conception. Mr. Benson: Madonna. Sir Francis Cook: Madonna enthroned. Mond Collection: SS. Peter and Paul. Lord Northbrook: Madonna; Resurrection; Saints; Crucifixion; Madonna; Madonna and Saints. Milan. Brera: SS. James, Bernardino, and Pellegrino; SS. Anthony Abbot, Jerome, and Andrew. Poldi-Pezzoli: S. Francis in Adoration. Rome. Vatican: Pietà. CHAPTER VIII GENTILE BELLINI AND ANTONELLO DA MESSINA What, then, is the position which art has achieved in Venice a decade after the middle of the fourteenth century, and how does she compare with the Florentine School? The Florentines, Fra Angelico, Andrea del Castagno, and Pesellino were lately dead. Antonio Pollaiuolo was in his prime, Fra Lippo was fifty-four, Paolo Uccello was sixty-three. But though the progress in the north had been slower, art both in Padua and Venice was now in vigorous progress. Bartolommeo Vivarini was still painting and gathering round him a numerous band of followers; Mantegna was thirty, had just completed the frescoes in the Eremitani Chapel and the famous altarpiece in S. Zeno; and Gentile and Giovanni Bellini were two and four years his seniors.