 They show his drive to invent a space capable of conciliating a new painting landscape with a space reminiscent of the Byzantine intellectual mystique that so profoundly conditioned Venetian sensibility.As many scholars, such as Camesasca and Tempestini, have demonstrated, the MASP work is the prototype for several copies, versions, and derivations, among which are those by Francesco da Santa Croce (Vicenza, Museo Civico), Filippo Mazzola and Rocco Marconi (both in Sarasota, Ringling Museum), Antonello de Saliba (Berlin, destroyed in 1945).Furthermore, two other copies are known, one of which at the Art Institute of Chicago, plus Bellini's variants, such as the "Madonna degli Alberetti", 1487, of the Gallerie dell’Accademia in Venice and the "Morelli Madonna", of the Accademia Carrara in Bergamo.