# data[].attributes.attachment_caption
 A sweet, Madonna who signals her awareness and acceptance of the preordained fate of her Son.

# data[].attributes.body
Virgin Mary with her son that were guiding by the two saints.

# data[].attributes.attachment_caption
Giovanni Bellini Painted this on how he sees the young man

# data[].attributes.attachment_caption
A motherly love of the Virgin Mary for Jesus

# data[].attributes.attachment_caption
Painting of the Roman God Bacchus as boy

# data[].attributes.body
An elderly man, barefoot and with an impressive grey beard, is perched on a rock, engrossed in a book. This is Saint Jerome, translator of the Bible into Latin. His only companion is an endearing lion which lies peaceably in the corner – he had tamed it by removing a thorn from its paw.

Bellini painted this subject several times, always using landscape and dramatic lighting to convey meaning. Cliffs tower around Jerome, cutting him off from civilisation (represented by the walled city in the background). A bright light falls on the saint and on the distant towers, but the landscape between them is plunged in shadow.

Recent technical study has confirmed that the painting is by Bellini himself, rather than a follower. Jerome’s head is painted with great attention to detail, and if you look closely you can see the individual brushstrokes in his hair and beard.

# data[].attributes.headline
An Episode from the Life of Publius Cornelius Scipio

# data[].attributes.subject
An Episode from the Life of Publius Cornelius Scipio

# data[].attributes.attachment_caption
Six women, eight men, two satyrs, and one child gather in pairs and trios in a loose row that spans the width of this nearly square painting.

# data[].attributes.headline
Jupiter and Ganymede Above an Extensive Landscape

# data[].attributes.subject
Jupiter and Ganymede Above an Extensive Landscape

# data[].attributes.body
Bellini's Christ Blessing vividly portrays the central mystery of the Christian faith: the incarnation, when Christ––fully human and fully divine––was sent to earth to redeem humankind.

# data[].attributes.attachment_caption
This painting is how Giovanni visualize on how Jesus Christ was baptized.

# data[].attributes.attachment_caption
This is how Giovanni visualize on how Virgin Mary and saint John supported Jesus Christ.

# data[].attributes.headline
Dead Christ Supported by the Madonna and St. John

# data[].attributes.subject
Dead Christ Supported by the Madonna and St. John

# data[].attributes.body
Also known as Pieta

# data[].attributes.body
The Virgin in Glory with Saints depicts a scene similar to the much-interpreted subject of the Assumption, when Mary ascends to Heaven on her death, normally watched by the Apostles.

# data[].attributes.body
Christ’s disciple Judas – visible just beyond the river, leading a group of soldiers to Christ – has betrayed him. Aware of his imminent arrest and death, Christ prays; a cherub appears and presents him with a chalice. The chalice refers to the words of his prayer: ‘My Father, if it be possible, let this cup pass from me; nevertheless, not as I will, but as thou wilt’ (Matthew 26: 39).

Here Bellini experiments with the style of his brother-in-law, Andrea Mantegna: the rock forms in the foreground on the left have straight edges and look, like Mantegna’s, as though they have been carved with a chisel. The draperies, too, resemble Mantegna’s in their crisp sharp folds.

Christ’s pink tunic blends with the peach light of the dawn sky, which highlights the undersides of the plump clouds. Bellini would continue to develop his extraordinary sensitivity for the changing effects of light on landscapes throughout his career