Besides several paintings by the Vivarini in the Accademia there are in Venice fine examples of Bartolomeo’s work, the St Augustine, in S. Zanipolo; a Coronation of the Virgin by Giovanni Alemano and Antonio Vivarini, with marked German traits, in S. Pantaleone; three altar-pieces by the same two painters in S. Zaccaria; an early work (1473) in three compartments by Bartolomeo, the Meeting of Joachim and Anna, the Birth of the Virgin, and Mary as the Mater Misericordiæ in S. Maria Formosa; a Virgin between St Andrew and St John (1478), in S. Giovanni in Bragora, where are also two works by Alvise, one, the Resurrection, a masterpiece. In the Frari are two altar-pieces by Bartolomeo (1474 and 1478), and a fine example of Alvise’s work, St Ambrose Enthroned, finished after his death in 1502 by his pupil Basaiti. The beautiful Virgin and Child with two angels in the Redentore, formerly attributed to Giovanni Bellini, is now generally given to Alvise. The striking and noble figure of St Clare (No. 393) in the Accademia is by this master, to whom modern criticism assigns a very high place[70] in the history of Venetian painting. Many portraits formerly ascribed to Antonello da Messina are now recognised as Alvise’s work. [Illustration: _Alinari, Florence_ PALAZZO LAYARD--PORTRAIT OF SULTAN MAHOMET II BY GENTILE BELLINI] But it is to the paintings of Gentile, and Giovanni, sons of Jacopo Bellini, that the traveller will turn again and again with increasing admiration and reverence. In 1421 Jacopo, who had worked under the Umbrian masters in the Ducal Palace, went with Gentile da Fabriano to Florence, and there for several years was his pupil in the very centre of the renaissance of art. In 1430 he set up a workshop in Venice, and about 1450, having moved with his two sons to Padua, came under the powerful influence of Mantegna, who married his daughter Nicolosa. Venice possesses but two examples of his work, No. 582 in the Accademia and a Crucifixion in Room XV. of the Correr Museum. Only from the master’s sketches in the British Museum and in the Louvre can an adequate conception of his genius be obtained. Gentile, the elder of the sons, whose name was given him in memory of Jacopo’s beloved master Gentile da Fabriano, was born in 1429, Giovanni about 1430. Vasari tells of the affectionate rivalry of the artist family; the father’s joy as the growing excellence of his sons already eclipsed his own fame; the sons, after separating each to his own workshop, holding one another, and both, the father, in great reverence, each praising his brother’s work and depreciating his own, seeking modestly to excel in kindness and courtesy as well as in the practice of his art. In 1464 Gentile painted the shutters of the organ in St Mark’s with the figures of Saints Mark, Jerome, Theodore and Francis. They still exist, but almost ruined, in the Office of Works. No. 570 in the Accademia, a faded painting, the Apotheosis of the Patriarch S.