Bergamo. Lochis: Madonna (E.). Morelli: Two Madonnas. Berlin. Pietà (L.); Dead Christ. Florence. Uffizi: Allegory; The Souls in Paradise (L.). London. Portrait of Doge (L.); Madonna (L.); Agony in Garden (E.); Salvator Mundi (E.). Milan. Brera: Pietà (E.); Madonna; Madonna, 1510. Mond Collection. Dead Christ; Madonna (E.). Murano. S. Pietro: Madonna with Saints and Doge Barbarigo, 1488. Naples. Sala Grande: Transfiguration. Pesaro. S. Francesco: Altarpiece. Rimini. Dead Christ (E.). Venice. Academy: Three Madonnas; Five small allegorical paintings (L.); Madonna with SS. Catherine and Magdalene; Madonna with SS. Paul and George; Madonna with five Saints. Museo Correr: Crucifixion (E.); Transfiguration (E.); Dead Christ; Dead Christ with Angels. Palazzo Ducale, Sala di Tre: Pietà (E.). Frari: Triptych; Madonna and Saints, 1488. S. Giovanni Crisostomo: S. Chrysostom with SS. Jerome and Augustine, 1513. S. Maria dell' Orto: Madonna (E.). S. Zaccaria: Madonna and Saints, 1505. Vicenza. S. Corona: Baptism, 1510. CHAPTER XIII CIMA DA CONEGLIANO AND OTHER FOLLOWERS OF BELLINI The rising tide of feeling, the growing sense of the joy of life and the apprehension of pure beauty, which was strengthening in the people and leading up to the great period of Venetian art, flooded round Bellini and recognised its expression in him. He was more popular and had a larger following among the artists of his day than either Gentile or Carpaccio with their frankly mundane talent. Whatever Giovanni's State works may have been, his religious paintings are the ones which are copied and adapted and studied by the younger band of artists, and this because of their beauty and notwithstanding their conventional subjects. Gentile's pageant-pictures have still something cold and colourless, with a touch of the archaic, while Giovanni's religious altarpieces evince a new freedom of handling, a modern conception of beautiful women, a use of that colour which was soon to reign triumphant. As far as it went indeed, its triumph was already assured; as Giovanni advanced towards old age, it was no longer of any use for the young masters of the day to paint in any way save the one he had made popular, and one artist after another who had begun in the school of Alvise Vivarini ended as the disciple of Giovanni Bellini. It was the habit of Bellini to trust much to his assistants, and as everything that went out of his workshop was signed by his name, even if it only represented the use of one of his designs, or a few words of advice, and was "passed" by the master, it is no wonder that European collections were flooded with works, among which only lately the names of Catena, Previtali, Pennacchi, Marco Belli, Bissolo, Basaiti, Rondinelli, and others begin to be disentangled.