Close by, at Padua, Giotto had left a rendering of the last subject, so full of passionate sorrow that it is hardly possible that it should not, if only half consciously, have stimulated the artistic sensibilities of the most sensitive of painters; but Bellini's pathos shrinks from all exaggeration. He conceives grief with the tenderest insight. His interest in the subject was so intense that he never left the execution to others, and though not a single one bears his signature, yet each is entirely by his own hand. Besides the Pietà at Milan, which is perhaps the best known, there is one in the Correr Museum, another in the Doge's Palace, and yet others at Rimini and at Berlin. The version he adopts, which places the Body of Christ within the sarcophagus, was a favourite in North Italy. Donatello uses it in a bas-relief (now in the Victoria and Albert Museum), but whether he brought or found the suggestion in Padua nothing exists to show. Jacopo has left sketches in which the whole group is within the tomb, and this rendering is followed by Carpaccio, Crivelli, Marco Zoppo, and others. It is never found in trecento art, and is probably traceable to the Paduan impulse to make use of classic remains. Giovanni Bellini's Pietàs fall into two groups. In one, the Christ is placed between the Virgin and St. John, who are embodiments of the agony of bereavement. In the other, the dead Redeemer is supported by angels, who express the amazement and grief of immortal beings who see their Lord suffering an indignity from which they are immune. Mary and St. John _inside_ the sarcophagus shows that they are conceived mystically; Mary as the Church, and St. John as the personification of Christian Philosophy--a significance frequently attached to these figures. Such a picture was designed to hang over the altar, at which the mystical sacrifice of the Mass was perpetually offered.