ini's pathos and
significance; they are merely childish and seem to be amused.

In 1515 Basaiti has entered upon a new phase. He has felt Giorgione's
influence, and is beginning to try what he can do, while still keeping
close to Bellini, to develop a fuller touch, more animated figures, and
a brilliant effect of landscape. He runs a film of vaporous colour over
his hard outlines and makes his figures bright and misty, and though
underneath they are still empty and monotonous, it is not surprising
that many of his works for a time passed as those of Bellini. Though he
is a clever imitator, "his figures are designed with less mastery, his
drawing is a little less correct, his drapery less adapted to the under
form. Light and shade are not so cleverly balanced, colours have the
brightness, but not the true contrast required. In landscape he proceeds
from a bleak aridity to extreme gaiety; he does not dwell on detail, but
his masses have neither the sober tint nor the mysterious richness
conspicuous in his teacher ... he is a clever instrument." Both
Previtali and Rondinelli were workers with Basaiti in Bellini's studio.
Previtali occasionally signed himself Andrea Cordeliaghi or Cordella,
and has left many unsigned pictures. He copies Catena and Lotto, Palma
and Montagna; but for a time his work went forth from Bellini's workshop
signed with Bellini's name. In 1515, in a great altarpiece in San
Spirito at Bergamo, he first takes the title of Previtali, compiling it
in the cartello with the monogram already used as Cordeliaghi. There are
traces of many other minor artists at this period, all essaying the same
manner, copying one or other of the masters, taking hints from each
other. The Venetian love of splendour was turning to the collection
of works of art, and the work of second-class artists was evidently
much in demand and obtained its meed of admiration. Bissolo was a
fellow-labourer with Catena in the Hall of the Ducal Palace in 1492; he
is soft and nerveless, but he copies Bellini, and has imbibed something
of his tenderness of spirit.

It will be seen from this list how difficult it is to unravel the tale
of the false Bellinis. The master's own works speak for themselves
with no uncertain voice, but away from these it is very difficult to
pronounce as to whether he had given a design, or a few touches, or
advice, and still more difficult to decide whether these were bestowed
on Basaiti in his later manner, or on