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 MANTEGNA 
 
 PART 64 VOLUME 6 
 
 
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 42<I()auntii^tRi* 
 
MA STERS IN ART 
 
 
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 M A XT EG X A 
 
MASTEHS IN AHT PLATE 11 
 
 rHOTOGRAPM BY ANDERSON 
 
 [l3l] 
 
 MANTP'.GNA 
 MKKTIxr. OP LOnOVlCO GOKZAGA ANll CAKDINAL F«ANCESCO 
 GAMEKA DEGLI SJ'OSI, CASTELLO, MANTUA 
 
MASTEKS IN AKT PliATK III 
 
 PHOTOGRAPH BY BR»UN, CLEMENT i. CIE 
 
 MAXTKI^N'A 
 TIIK IIOI.V KAMIT.Y 
 CQLLKlvnOX OF J)H. l-LDWlc; MOXD, 
 
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MASTEHS IN A Kl' 
 
 PHOTOGRAPH BY PRAUN, C 
 
 I'l.ATK VI 
 
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 .MAXTKCrXA 
 
 THE MAUOXNA OF VICTOKX 
 
 LOUVKE. PAKiS 
 
MASTEHS IN A HI' 
 
 PHOTOGRAPH HY Al 
 
 [141] 
 
 PI,A TK vir 
 
 DERSON 
 
 MAXTKd.VA 
 ST. JAMES hf:fohk IIKKOI) AGRIPPA 
 
 CHUKCH OF TltK KHKMITANI, PADUA 
 
MASTKHS IX AIM' PI.ATK Vltl 
 
 PHOTOGRAPH »v ANDERSON 
 
 M A.N rK(;.N'A 
 
 M ADO.N XA A.\ n CIlII.ll Wnil ("IIKRI'HS 
 
 i;hkha (;ai-i,khv. mii.ax 
 
MASTEKS IN AKT P1.ATK IX 
 
 PHOTOQBAPH BY HANFSTAENGL 
 
 [14.-,] 
 
 MAXTKGXA 
 
 POKTKAIT OK CAKIMNAI. SCAKAMPI 
 
 HKHLI-\ C.Al.l.KKY 
 
< i 
 
HHOXZE HUST OF .M AN'IW; .\ A 
 MA.VTFXIXAS CIIAPIOL, lUIUJiC.II Ol' SANl" A.\J)liKA, .MAXTIA 
 
 Fifty years after Mantcgna's death, his grandson, Andrea, placed in the chapel of 
 the Church of Sant' Andrea, Mantua, where the painter is buried, the now cele- 
 brated bronze bust of Mantegna here reproduced. Formerly attributed to the 
 medalist, Sperandio, this tine work is now ascribed by some to Bartolommeo di 
 Virgilio Meglioli ; by others to Gian Marco Cavalli. Whoever the sculptor, the 
 massive head crowned with laurel, and with eyes in which we are told diamonds 
 once blazed, is superbly modeled, and in its strongly marked features are revealed the 
 rugged strength, the proud and uncompromising spirit, the mighty energy, of the 
 great artist. 
 
 [ 1411 ] 
 
MASTERS IN ART 
 
 ^ntirea iWanti^gna 
 
 BORN 1431 : DIED loOG 
 P ADU AN SCHOOL 
 
 ANDREA MANTEGNA (pronounced Man-tane'yah) was born at Vi- 
 -/a. cenza, in the neighborhood of Padua, in the year 1431. Nothing is 
 known of his parentage except that his father's name was Biagio. The story 
 told by Vasari, that, like Giotto, Mantegna was "occupied during his child- 
 hood in the tending of flocks," is without foundation, and all that is actually 
 known of his early years is that he went to Padua when very young, was there 
 adopted by the painter Squarcione, and at the age of ten was admitted to the 
 gild of painters in Padua, being registered in the books of the fraternity as 
 "Andrea, the son of Messer Francesco Squarcione, painter." 
 
 Although Squarcione's title to fame rests to-day largely upon the fact that 
 he was Mantegna's earliest master, he occupies a not unimportant position in 
 the history of the development of art in northern Italy. Originally a tailor and 
 embroiderer by profession, he won a reputation as a connoisseur of antique 
 art, his taste for which he indulged during travels in Italy, and some say in 
 Greece, where he collected specimens of sculpture, bas-reliefs, architectural 
 remains, and drawings made from inscriptions and decorative work. Upon 
 his return to Padua he established an art school, where no less than one hun- 
 dred and thirty-seven students from all parts of Italy were assembled. 
 
 In this school the young Mantegna received his first instruction, and thus 
 from his earliest years a love for antique art was formed, a love which re- 
 mained throughout his life the dominant feature in his art, though other in- 
 fluences contributed towards making him the finished master he became. 
 
 Whether Jacopo BeUini, the Venetian painter, was one of the teachers em- 
 ployed in Squarcione's school, or whether, during the residence in Padua 
 which he is known to have made, he set up a separate and rival studio, can- 
 not be determined, but in Mantegna's work, as well as in that of other Squar- 
 cionesques, his influence is clearly perceptible. From the Florentine painter 
 Paolo Uccello, who was at work in Padua in Mantegna's boyhood, the young 
 student probably acquired an interest in the art of perspective and foreshort- 
 ening in which Paolo excelled; but by a far greater master, the famous sculp- 
 tor Donatello, who with a crowd of assistants went from Florence to Padua 
 and there lived and worked for a period of about ten years, he was still more 
 
24 MASTERS IN ART 
 
 powerfully influenced. Donateilo's classic ideals and t}pes, his forceful in- 
 terpretation of the spirit of the Renaissance, to say nothing of his marvelous 
 technical skill, all made a deep impression upon Mantegna's mind. 
 
 Bred up among such influences, and imbibing from his earliest youth the 
 intellectual atmosphere of the old university town of Padua, the home of 
 scholars, poets, artists, and philosophers, Mantegna grew to manhood. At 
 seventeen he had painted his tirst recorded picture, a 'Madonna in Glory,' 
 no longer in existence, for the Church of Santa Sofia in Padua. Four years 
 later he painted a fresco over the portal of the Church of Sant' Antonio, and 
 in 1454 he executed for the Church of Santa Giustina a large altar-piece of 
 St. Luke with eight saints and a Pieta, now in the Brera Gallery, Milan. 
 At the age of twenty-three he had, therefore, been employed in work for the 
 three principal churches of Padua, from which it may be inferred that even 
 at that early stage of his career he had acquired a reputation and was highly 
 esteemed by his fellow-citizens. 
 
 Before finishing the St. Luke altar-piece Mantegna was engaged upon 
 a work which was to make his name famous. With others of Squarcione's 
 pupils he was employed in decorating in fresco (or, more properly speaking, 
 in tempera on the dry plaster, the method employed by Mantegna for all his 
 wall-paintings) the Chapel of St. James and St. Christopher in the Church of 
 the Eremitani in Padua, and in the six celebrated wall-paintings which re- 
 main of his work there we have a priceless record of his early art. 
 
 Before the completion of these paintings Mantegna's marriage with Nico- 
 losia, daughter of Jacopo Bellini, took place. Two years later he broke off all 
 connection with Squarcione, from whom he demanded and obtained his free- 
 dom on the ground that when he had signed an agreement to work for him 
 he was but a minor, and, moreover, that he had been deceived by his master. 
 
 According to Vasari, the rupture between Squarcione and his pupil was 
 caused by the latter's marriage with the daughter of Squarcione's "rival," 
 Jacopo Bellini, which so displeased Mantegna's master that, whereas he had 
 previously much extolled his pupil's works, he from that time censured them 
 with violence, finding fault with Mantegna's frescos in the Church of the 
 Eremitani because the figures therein resembled antique marbles. "Andrea," 
 adds Vasari, "was deeply wounded by his disparaging remarks, but they 
 were, nevertheless, of great service to him; for, knowing that there was truth 
 in what Squarcione said, he forthwith began to draw from the life." 
 
 By most modern critics the change which took place at about this period 
 in Mantegna's manner of painting is attributed not to any adverse criticism 
 from Squarcione, but to the counsel of his brother-in-law, Giovanni Bellini 
 (between whose early works and some of Mantegna's a strong resemblance 
 exists), who induced him to soften the rigor of his style and turn more to na- 
 ture than to the cold and lifeless models of antique art. 
 
 The fame of the Eremitani frescos quickly spread, and before long Man- 
 tegna was regarded as the chief painter of Padua. His genius was extolled 
 by scholars, and poems were written in his honor, while princes and church 
 dignitaries sought to obtain examples of his art. While at work upon a large 
 
 [150] 
 
MANTEGNA 25 
 
 altar-piece in six parts for the Church of San Zeno in Verona, he received, in 
 1457, a pressing invitation from Lodovico Gonzaga, marquis of Mantua, to 
 enter his service and take up residence at the Mantuan court, then one of the 
 most brilliant in Italy. But the painter, fully occupied with work, and loath 
 to give up his home in Padua, a town to which he was so strongly attached 
 that as long as he lived he frequently affixed to his signature the words "Civis 
 Patavinus" (Citizen of Padua), hesitated to accede to Lodovico's wish, and 
 it was not until the end of two years, and after repeated appeals from the 
 marquis, who courteously but persistently plied him with letters filled with 
 liberal promises, — a salary of fifteen ducats a month should be at his dis- 
 posal, free lodging, corn and wood enough for six people, and all traveling 
 expenses paid, — that Mantegna, after many excuses, — first, that he must be 
 allowed to finish his altar-piece, then that he must go to Verona to place it in 
 the Church of San Zeno, — finally yielded, and in 1459 removed with his fam- 
 ily to Mantua. From that time on until his death he remained the special 
 court painter and the devoted subject of the Gonzaga family, being privileged 
 to make use with some slight change of the Gonzaga coat of arms, and being 
 treated with the utmost regard by the successive rulers of the house, who were 
 well aware that his presence added luster to their court and city. 
 
 Among the earliest works executed after his arrival in Mantua were a small 
 triptych, or altar-piece in three parts, now in the Uffizi Gallery, Florence, 
 and a 'Death of the Virgin' in Madrid. His decorations of Goito, the fa- 
 vorite hunting-castle of the marquis, have perished, as have also his frescos 
 in various neighboring palaces of the Gonzagas. 
 
 In the summer of 1466 Mantegna went to Florence on business of his mas- 
 ter's, but no account of his four months' stay there has come down to us. In 
 December of that year he was in Mantua again, executing a variety of tasks 
 for the marquis, from drawing designs for tapestries to painting the walls of a 
 room in the Castello, known as the 'Camera degli Sposi.' 
 
 These famous frescos were finished in 1474, and as a reward the marquis 
 presented Mantegna with an estate upon which the painter began to build for 
 himself a stately house, where, however, he seems never to have actually lived, 
 but where it was his hope that he would be free from the annoyances he 
 suffered from his neighbors. Again and again Mantegna, who seems to have 
 been of an irascible temper, quick to imagine slights and to resent fancied in- 
 juries, appealed to his master, the marquis, to redress his wrongs. Now it was 
 to beg him to punish a tailor who had spoiled a piece of his cloth; now to bit- 
 terly complain of a neighbor who, he declared, had robbed his garden of five 
 hundred fine quinces; again, to beg for justice regarding the boundary-line 
 between his estate and the next. To all appeals from his testy painter Lodo\ - 
 ico turned a patient ear, adjusting matters to Mantegna's satisfaction when- 
 ever possible, though sometimes forced to decide against the irritable artist, 
 who on one occasion himself administered what he felt to be justice, and 
 soundly thrashed an engraver whom he suspected of having purloined his 
 plates. This time a lawsuit followed in which Mantegna fared badly, for we 
 find him again appealing to the marquis for help. 
 
 [ 1 r, 1 ] 
 
26 MASTERS IN ART 
 
 Lodovico, always ready to treat Mantegna with forbearance, was not, how- 
 ever, so prompt to satisfy his frequent and more reasonable complaints that his 
 salary was in arrears. In 1478 the painter wrote to remind his patron that the 
 promises made to induce him to leave Padua had never been fulfilled, but that 
 now, after laboring in the Gonzagas' service for nineteen years, he was still 
 poor and in need. Lodovico replied kindly and with apologies, assuring Man- 
 tegna that he should be paid, even if his own possessions had to be sold, but 
 that money was scarce in the Mantuan treasury, and even then his own jewels 
 were in pawn. Three weeks after this Lodovico died, after ruling for thirty- 
 four years, and to his son, Federico, were left his dukedom and his debts. 
 
 This new marquis had all his father's love of art and luxury, and towards 
 the court painter he showed continued kindness and appreciation of his genius. 
 He kept him, indeed, so constantly employed that Mantegna was forced to re- 
 fuse many of the commissions he received from different parts of Italy. The 
 painter was at the height of his powers and success when, in 1484, Federico 
 died, and was in his turn succeeded by his son, Francesco, then but a boy; and 
 Mantegna, seemingly uneasy as to his position at the Mantuan court, wrote 
 to offer his services at that of Florence. What answer he received we do not 
 know, only that he remained in Mantua and that his new patron, the young 
 marquis, Francesco, proved as appreciative of the painter's genius as his father 
 and grandfather had been before him. 
 
 The first important work undertaken by Mantegna after the accession of 
 Francesco was the execution of a series of nine large paintings representing 
 'The Triumph of Caesar,' now at Hampton Court, England, but long used to 
 decorate a palace of the Gonzagas. This great work was interrupted by a 
 journey to Rome in 1488, made in compliance with a request to Francesco 
 Gonzaga from Pope Innocent viii. that he would send his favorite painter to 
 Rome to decorate a chapel in the Vatican. Such a request could not be re- 
 fused, and accordingly Mantegna was allowed to depart, having first had con- 
 ferred upon him by his master the honor of knighthood. 
 
 For two years he remained in Rome, but unfortunately the frescos with 
 which in that time he decorated the pope's chapel have perished, the entire 
 chapel having been destroyed in 1780, when Pope Pius vi. enlarged the Vat- 
 ican. Several letters written by Mantegna to the marquis, Francesco Gon- 
 zaga, during his residence in the papal city, have been preserved, in which he 
 tells of the honor and favor shown him by the pope, who, he says, though gra- 
 cious, was not generous, for that he had been obHged to work for a year with 
 nothing in return but his board — a statement which would seem to be corrob- 
 orated by the anecdote told by Ridolfi that the painter, having been bidden 
 to portray the seven deadly sins, placed beside them an eighth figure, and that 
 when the holy father asked him what that signified Mantegna replied, "In- 
 gratitude," which he held to be the worst of all. To which the pope, seeing 
 the meaning of the painter's words, replied, smiling, "On this side then paint 
 the seven virtues, and for an eighth figure add Patience, which is not inferior 
 to any of the rest." After this, however, it is said that Mantegna's money was 
 promptly paid. 
 
 [152] 
 
MANTEGNA 27 
 
 As time went on and the artist did not return, Francesco became impatient, 
 and in December, 1489, when his marriage with the beautiful Isabella d'Este, 
 daughter of the duke of Ferrara, was about to be celebrated, he wrote ur- 
 gently to both the pope and the painter, stating that Mantegna's services 
 were needed in Mantua. But when the wedding took place, in the following 
 February, Mantegna was still in Rome, detained by sickness, and not until the 
 next autumn was he able to return to Mantua. All his attention was then de- 
 voted to the completion of his 'Triumph of Caesar,' about which he had been 
 so anxious while in Rome that in his letters to the marquis he had more than 
 once given explicit directions as to the care to be taken of these precious 
 works, of which he says himself, "Truly I am not ashamed of having made 
 them, and hope to make more, if God and your Excellency please." 
 
 Henceforth Mantegna's life was passed without interruption in Mantua. 
 His talents were in constant requisition by the marquis and by his accom- 
 plished wife, Isabella, who, during the frequent absence of Francesco on mil- 
 itary service, governed the state ably and wisely. To commemorate a battle 
 in which the marquis, although defeated, had borne himself bravely, Man- 
 tegna painted his famous 'Madonna of Victory '(plate vi); to adorn the private 
 study of Isabella, he painted the two mythological scenes, 'Parnassus' (plate 
 x) and the 'Triumph of Wisdom,' both now in the Louvre, Paris. For the 
 monks of Santa Maria degli Organi he painted the altar-piece of the ' Madonna 
 and Saints,' now owned by Prince Trivulzio in Milan; and when his brush 
 was not actively employed his creative powers found expression through his 
 pencil or his burin, for Mantegna was famous not only as a painter but as a 
 draftsman and an engraver. 
 
 Scarcely a dozen genuine examples of his drawings have survived, but these 
 show him to have been a master in that branch of art, and as an engraver he 
 stands in the foremost rank. Of the twenty-three plates formerly ascribed to 
 his hand only seven are now regarded as unquestionably his. All these are 
 notable for the beauty and originality of the designs, powerful imagination 
 displayed, and great technical skill. 
 
 Mantegna's irascible disposition, which rendered him an almost impossible 
 neighbor, does not seem to have prevented his being held b)- the distinguished 
 scholars of his day to be a delightfully agreeable companion, whose varied ac- 
 complishments and cultivated tastes excited general respect and admiration. 
 As a collector of antiquities he had acquired a reputation, and we are told that 
 he took much pleasure in poetry, and even wrote verses himself. Upright, 
 loyal, and proud, he was, as one of his biographers has said," a man who took 
 life earnestly, ardently, with no doubts of its worth, or of the value of his own 
 labors therein, and with no half-heartedness in the fulfilling of them; he was 
 fired by the true Renaissance zeal, enthusiastic and devoted." 
 
 To the very last he applied himself with characteristic energy to his art, and 
 in his later years produced some of his most vigorous works. To this period 
 many critics assign the powerful but repellent ' Dead Christ,' now in the Brera 
 Gallery, Milan. A 'St. Sebastian' in the collection of Baron Franchetti, Ven- 
 
 [15.S] 
 
28 MASTERS IN ART 
 
 ice, belongs to this period, also the monochrome painting called the 'Triumph 
 of Scipio,' in the National Gallery, London. 
 
 Mantegna's last years were saddened by pecuniar\ losses and domestic 
 troubles. Partly through his own too lavish expenditures, and partly because 
 of the misdeeds of one of his three sons, Francesco, who was in constant dis- 
 grace at the Mantuan court and a sore trial to his father, he found himself 
 deeply involved in debt. So urgent, indeed, was his need that, unable to work 
 fast enough to satisfy his creditors, he was forced to part with the most precious 
 of all his antiques, a Roman head of Faustina, his "dear Faustina," as he 
 called it. This he offered to the marchioness, Isabella, for the sum of one hun- 
 dred ducats, but Isabella, away from home at the time, strangely enough de- 
 layed answering the pathetic appeal of the old painter, and when she did write 
 it was to endeavor to acquire the bust at a lower price. Mantegna, deeply 
 hurt by her long silence, angrily refused to part with his treasure for less than 
 the sum named, and the marchioness finally acceded to his terms. Her agent, 
 Jacopo Calandra, writing to her that he had at last obtained possession of the 
 bust for her, tells how Mantegna put the precious marble into his hands with 
 great reluctance, recommending it to his care with much solicitude and with 
 such demonstrations of jealous aflfection that, adds Calandra, "if he were not 
 to see it again for six days I feel convinced he would die." 
 
 And, indeed, the end came soon after the parting from his dearest posses- 
 sion. Mantegna was ill at the time, and six weeks later, on Sunday, the thir- 
 teenth of September, 1506, he died, at the age of seventy-five. In accordance 
 with his wish he was buried in the Church of Sant' Andrea, Mantua, in a 
 small chapel there which in his old age he had purchased for a last resting- 
 place. 
 
 The marquis, Francesco Gonzaga, was absent from Mantua at the time 
 of Mantegna's death, and one of the painter's sons, writing to apprise him of 
 the event, tells him how, a few minutes before the end, Mantegna, loyal to 
 the last to the family he had served so long and so honorably, had asked for his 
 master, "and grieved much to think that he should never see his face again." 
 Isabella seems to have taken the news of the old painter's death very casually, 
 and in a letter written at the time to her husband, alludes to the event in 
 merely passing terms. Others, however, felt the loss more keenly. Albrecht 
 Durer, on his way from Venice to Mantua to visit the great Mantegna, to 
 whose art he owed much and with whose genius his own was in deep sym- 
 pathy, when he learned that the painter was no more, declared, and was often 
 heard to repeat the words, that in all his life no sadder thing had ever be- 
 fallen him; and Lorenzo da Pavia, the noted Venetian collector of antiquities, 
 who had known and admired Mantegna, wrote to the marchioness, Isabella, 
 "I grieve deeply over the loss of our Messer Andrea Mantegna, for in truth a 
 most excellent painter — another Apelles, I may say — is gone from us. But 
 I believe that God will employ him elsewhere on some great and beautiful 
 work, tor my part I know that I shall never again see so fine an artist." 
 
 [154] 
 
MANTEGNA 29 
 
 %\)t art of JHantegna 
 
 EUGENE MUNTZ 'HISTOIRE DE L'ART PENDANT LA RENAISSANCE' 
 
 AMONG the precursors of Raphael, Andrea Mantegna stands conspicu- 
 L ously in the foremost rank between Masaccio on the one side and Leo- 
 nardo da Vinci on the other. No artist is more representative of one of the two 
 chief factors of the new era — the study of antiquity; and when in addition we 
 remember that his imagination was the most powerful, his style the most re- 
 strained and the most finished, we may indeed ask if he were not the greatest 
 painter of the early Renaissance. . . . 
 
 Besides the instruction Mantegna received from Squarcione and from 
 Jacopo Bellini, Donatello's influence is noteworthy. The Florentine sculptor, 
 as we know, lived in Padua from 1444 to 1453, ^^^ therefore it is probable 
 that Mantegna knew him personally. At all events, the young Paduan painter 
 modeled his style upon that of Donatello even more than upon that of either 
 Squarcione or Bellini, borrowing from him the types of his children with their 
 puffed-out cheeks and tiny mouths, as well as the type of Christ and of the 
 Virgin. Finally, he learned from Donatello that quality of pathos which is 
 found in his portrayals of the Crucifixion and the Entombment. Once in- 
 deed, in one of his frescos in the Church of the Eremitani, Padua, he copied 
 Donatello's 'St. George.' 
 
 Instruction imparted more or less directly by a sculptor to a painter has its 
 disadvantages. A too rigorous imitation of sculpture (I am speaking now not 
 only of Donatello's bronzes but of antique statues as well) gave a cold quality 
 to Mantegna's coloring, in which there is something hard and dry. Only at 
 times, perhaps under the influence of his brothers-in-law Giovanni and Gen- 
 tile Bellini, did he strike a warmer and more genial note, a richer and more 
 golden tone. 
 
 Another Florentine, Paolo Uccello by name, was his exemplar in linear per- 
 spective and the art of foreshortening. This twofold preoccupation of Man- 
 tegna's plays so important a part in all his compositions that it sometimes in- 
 terferes with the painter's poetic inspiration. In both branches, perspective 
 and foreshortening, he acquired a skill so consummate that it has never been 
 surpassed, perhaps not even equaled. 
 
 But the chief source of his indebtedness, that of all others from which he 
 most freely drew, was antique art. To search with all the eagerness of an an- 
 tiquary and all the scientific thoroughness of an archaeologist for the least 
 fragment in the way of statues, bas-reliefs, coins, inscriptions, marbles, and 
 bronzes, which could be useful to him in reconstructing an image of the Roman 
 world; to study even to the most infinitesimal details the costume, the furni- 
 ture, and the armor of the ancients; to consult the most learned scholars as to 
 the shape of a sword, the bit of a horse, or the kind of boot used in the Roman 
 armies, and then from this infinity of material and with inexhaustible patience 
 to create a picture at once living and poetic, quickening with his imagination 
 
 IU>'>] 
 
30 MASTERS IN ART 
 
 erudition which in another would have remained sterile; — such was the task 
 which Mantegna accompHshed with signal success. 
 
 His enthusiasm for the study of antiquity, however, did not lead him to neg- 
 lect nature. Possibly if antiquity could have provided him with more numer- 
 ous and more varied models, Mantegna would not have turned to nature for a 
 guide; but much is lacking, especially for a painter, in the models offered by 
 antique art. Types, it is true, it gave him, and costumes, armor, furniture, 
 buildings — in short, a complete archaeological outfit; but no color, no vegeta- 
 tion, no landscapes, and accordingly Mantegna, fortunately for us, was forced 
 to turn his attention to the men and things of his own time; in a word, to com- 
 plete his role of archaeologist by that of realist. And so it was that, like Dona- 
 tello, his immortal prototype, and like Raphael in later years, his art embraced 
 two entire worlds — the world of antiquity, of paganism, and the world of 
 Christianity — and he became the enthusiastic student of the one, the fervent 
 interpreter of the other. . . . 
 
 Among the many high qualities of Mantegna's achievement, qualities which 
 through him have become the common patrimony of Italian art, composition 
 may be said to owe more to him than any other one branch of art. He was 
 undoubtedly the first to give thought to the construction of a picture; that is 
 to say, to substitute for a simple juxtaposition or a picturesque grouping of 
 the figures an arrangement which had been thoroughly thought out as a whole, 
 and of which the most insignificant parts should be placed as carefully as fig- 
 ures on a chessboard in the hands of a skilful player. Throughout his work 
 we are conscious of a firm will and a brain ceaselessly alert. The arrangement 
 of some of his pictures is as studied in its accuracy as a demonstration in 
 geometry — too studied, indeed, for if this great artist can be reproached with 
 a fault it is with over-conscientiousness. A little more freedom, a little more 
 spontaneity, would sometimes be acceptable. 
 
 Science in the disposition of drapery w^as also carried by Mantegna to a 
 point of perfection unknown before his day. His inspiration in this direction 
 was derived from both the precepts of Paolo Uccello and from the Greek and 
 Roman sculptors. He was not satisfied to skilfully arrange his draperies upon 
 the human body, to make them follow the lines caused by the slightest move- 
 ment, and dispose them in accordance with the most complicated anatomical 
 problems — all this he regarded as but a preliminary step, not an end. He 
 wished in addition to grapple with those problems of harmony and of elegance 
 which had been solved with such marvelous perfection by the sculptors of 
 antiquity. Thus it was that the flow of the drapery became bv turn in Man- 
 tegna's hands picturesque, bold, and, again, truly elo(|uent. ... 
 
 Here, too, the artist, conscientious above all, sinned through excess. When 
 studied carefully his draperies will often be found to be too hard, too stiff. 
 Striving with implacable logic to reproduce even the smallest folds, the tiniest 
 ripples, of those surfaces which in their very nature are pliable, he gives them 
 a metallic appearance; no matter how softly flowing their folds, his materials 
 are frequently so painted that they seem to be made of tin. 
 
 As was the case with Donatello, Mantegna's fame and influence were widely 
 
 [150] 
 
^XTA 31 
 
 M ANTEGNA 
 
 e^enaea, a„a y« he canno, be ^^^::<^:Z::^::!::::!:^Z- 
 
 callea. Butifhehaanoa.rectpup.ls(noneolh>stn Mantegna, attainea 
 
 ,co, ana Berna,-aino, nor h,s f-^^^/^jf °|;';,^rre Cosi™" T-a ana Me- 
 
 celebrity), his in,,tators -"\""" : °,"' JwhatTs best in their art; Raphael, 
 lozzoaaForh.whoweremaebteatoh^iorw ^^^ ^^^^^^^ 
 
 who borrowea from h.m the 77%^";'^^^^"^ ,he Vatican aerivea his in- 
 his aecorations of the Stanza <»;="> Segnatura.nth ^^^^^^^^ ^^ ^^_^^^^_ 
 
 spiration from Mantegna s ""^"'^ « '"f '^'^^^^^^„ ,„d countless others. 
 C'^^rreggio, P^olo Veronese Albr-ht Du' ^""^^^^^^ ^^^ engraver eclipsea 
 As is usually the case n "T^7°''■ °' P L quickly muhipliea ana spreaa. 
 the painter. A prmt "-^'^'l^^^l^^ll^'^ ^Tt gnl's paintings, a hunarea 
 For every ten avt.sts who couU see one ot ^ f ^^^^ ^.^ _ 
 
 -Xtr AXr-S'elbu-low valuelaia more towards es- 
 
 ra£il;ttme than' his most celebratea p.nt.n^s^ ^^^^ ^_^^ ^^ 
 
 •£r:rn:ri:it;ii:=ZoT:iuime.- 
 
 • ITALIAN CITIES* 
 cHANDE.W.BLASHFIELD . 
 
 • , .ro Kni- looked with passion and 
 
 MANTEGNA lookea not only at "«"'=• H."V°„en who had been his 
 devotion upon the art off^^^j/'^'pj^'/.fjn personality ana the 
 forerunners by a -"enma^ an^ ^ ha^^ Jr m^J^'^ ^, ?,_ ,ig„ .Hythm 
 work of the Greeks ana Romans he '=''7 , 6, ;„„ of nature he acquired 
 
 measure; from his own personahty and ^e observa ^^^ ^^ ^^^.^.^^^ 
 
 a robust naturaUsm to be used ."h^r^j^f^^^Xn personal^ ana his loving 
 -ut^CltXhe glv^'mrnr:? Ms^gures^a kina of feverishly v.ta. 
 
 "=g'=ni.t"^rrlVh^eS 
 
 Roman, the realistic contemporaneo . and th d a yj ^^^^ ._^ 
 
 and holy personages. It - "»" M n e'na aevelopea his Roman types; ana 
 
 ;ra;:ner:'^::9pH;rr^^^ 
 
 pictures, are also very notable. . ^- u^a his architecture, and has rev- 
 
 ' In the frescos Mantegna has fairly 1^^^^^^^^^^^^^^ ^^^ .^^^^^^ ^^^ it may 
 
 eled In his stage-setting. This ^ichitectu & • ^^re than his 
 
 be said here that Mantegna ' f^^l'^'lZ^^o^^^^^^^^ P-^""'^ ^^ ^^^"^ 
 
 elaboration of detail, interfered with the unity oH^ ^^^^^ ^^^^ ^^^^ 
 
 fresco as a whole. The --"-;V'Lows the architecture is too emphatic, 
 does n't mind your knowing that h ^ -ws the ar^^^^^^ ^^^.^^^^^ ^^^^^^^^.^_^ 
 
 and the emphasis is increased by the ^^^^ ^^f^ ^ ,^hen he came to a mat- 
 
 was. Uke most of the other primitives, sadly hampeiea 
 
 r 1 fr "■ 1 
 
32 MASTERS IN ART 
 
 ter of atmospheric perspectl\e. He is, however, in hke case with many an- 
 other; for, save in the hands of a very few Venetians and Umbrians, the fif- 
 teenth-century background would no more "down" than would Banquo's 
 ghost. Mantegna's buildings are, after all, only in the second plane, not the 
 third or fourth; and, for all that atmospherically they do not "know their 
 places," they are splendid and stately frames, more accountable perhaps than 
 any other one thing for the effect ot the frescos. If his architecture is all an- 
 tique, his costumes are, in three of the rectangles of the Eremitani frescos, 
 frankly fifteenth-century; in the others they are of that pseudo-Roman char- 
 acter which we may call Mantegnesque. 
 
 That he would have had them altogether Roman we do not doubt; but the 
 great artist cannot forget himself wholly, for even in his most earnest admira- 
 tion Mantegna's personality asserts itself, as it should; he is more violent than 
 the Greek, and he refines upon the later Roman. His people sometimes move 
 with a nervous brusqueness that is unsculptural and therefore un-pagan; more 
 often they stand statuesquely, or march rhythmically, as in the 'Triumph.' 
 Their long, thin bodies are evolved directly from Mantegna's own personality. 
 In the 'Triumph of Caesar' they have much of antique grace; in the frescos, 
 ft is combined with a great deal of medieval meagerness. They are of that 
 type which Mantegna preferred to all others, in which there is a mixture of 
 ugliness and elegance and even beauty, leaning now to the beauty side, with 
 the striplings and children of the Mantuan cartoons, now to the side of ultra- 
 elongation, as in 'The Crucifixion' — the type with a powerful, sharply muscled 
 thorax, slender but elegantly graceful arms and legs, and small heads. . . . 
 
 In his purely sacred pictures Mantegna's type of the Madonna is akin to 
 Bellini's, in that she is always the close-hooded descendant of the Byzantine 
 Marys; there is no opportunity for the picturesque arrangement of hair and 
 veil dear to the Tuscans; the limitation is trying and calls for greater feeling 
 for facial beauty in women than Mantegna possessed. In the delightful 
 army of Italian winged children Mantegna's hold honorable office; real babies 
 hardly existed in antique art, so he could obtain no inspiration from his Ro- 
 mans, and it is rather the little angels of Giovanni Bellini who are the brothers 
 to Mantegna's children, who, we suspect, try to look like the little bronze mu- 
 sicians of Donatello's famous Paduan altar; but they are not so forceful as 
 Donatello's children, nor so w'inning as Bellini's. . . . 
 
 In immediate relation to his flying children is a purely decorative and alto- 
 gether delightful element in Mantegna's pictures, of which he was, if not the 
 inventor, at least the typical adapter to pictorial purpose. He brought to a 
 fuller color-life the Delia Robbia garlands of green and white, and swung them 
 across his frescos. They are heavier and thicker than Luca's festoons — so 
 heavy, indeed, that infant geniuses easily ride astride or climb them like trees. 
 Flowers and fruits almost as solid-looking as the glazed earthern pears and 
 apples of the Delia Robbia are set in them with a perfect regularity which, 
 like the formalizing of Italian gardens, makes them but more decorative. . . . 
 
 Having glanced, if ever so hastily, at types, architecture, and ornament, the 
 material from which Mantegna evolved his art, let us even more briefly con- 
 
 [158] 
 
MANTEGNA ^^ 
 
 s,der h,s technique, his drawing color. -\7-P°r%htrU,cC;uttIol' 
 we .ay not ca„ hi. the pnnce o a,, ts^^n of aU t,m. The ^^^ ^^<,^^^^ ^^ 
 
 cannot be answered, for th"^"^ ™ l^^J^ho. as our mood changes, may 
 Parnassus, and ,ts upper slopes 'Y™ . Mfrhdaneelo Leonardo and Titian. 
 s,t in turn with Apollo. R^P''" L i«,o make up' a charmed circle, and 
 ^r'^T\'l°ld'^:fX:i;t::th";i"-e7thegatesswingtogether. 
 when the threshold ot the sixteenui j masters whom 
 
 closing upon an older and a 'ff-^;; ^ , o^^hY^hoUy rounded perfect.on 
 we call primitive must still linger, aepnvcu ,u„..„u thev may be without 
 
 that came to those of the H.gh R^^-^lf^'^^ '',^\t earn 7Gio^L,ni Bellmi 
 it nearest to this circle, m our hearts at least, sit tne 
 
 and the lofty-minded Mantegna. K^^-note for Mantegna, in his chal- 
 
 M. Mantx ,n his -*--^,;°7„t J h 'Koreans upon disign and style, 
 
 lenge to posterity, stands firmly as one or n r ^^^ ^^^_ 
 
 thole bases of pictorial art. No -f«^,''°"^^"tne and nearly all of his dis- 
 line in most of his wall-pictures, all of ^'^ g"™f '^^ f ^„ ^^ „f ;„ 
 
 temper panels is dehcate ^-"^ sensitive, fuh of charac^i^ .^ ^g^^ ^^^ 
 
 ^:;-irt:s::t:. J^z:^:::::^^^'^ .. ^o..!.... almost 
 
 ■'^'^- KtTgfmust be reckoned his J-™- .^ ^2^^.:^^: 
 made an important, perhaps too ™P°"-';,f ^j „''rthe'attractiveness of 
 he performed with it some very pretty f^"^' ^''"'^^^^^ ^ exactly upon 
 
 his work, especially in l"^P'«'"S°f'^"J°X"een from below (as in the 
 
 ^y-ilte-d^ £:r;t^:Sirof^r>em than for any 
 
 enhancement afforded by it to his picture .^ ^^ _^^^^^.^, ^, 
 
 Mantegna loved to compose -^ hked o h "d e a g_^^ ^^^^^ ^ ^.^^^ 
 
 a time; the Madonna and C^'" J;^by^^^^^^ ^ i„,„nce. He liked a 
 
 as a subject, as they did his bro her in '»™ ■^^ architecture and 
 
 procession much better, or ^"'^"•^^^^"f.^'lt^.eneL d-P-i™"> were in de- 
 landscape. His draperies, though dignified in gene^ p ^^^^^ ^|^_^ 
 tail what the French would call tormented^ full ot fit y.^^ ^^^ ^^^^ 
 seemed to suggest the copperplates ot N"«mbeig, and P ^^^.^^ 
 that Mantegna was engraver -"^''^^PJ Effect of ligh falling upon objects 
 he composed well with light. "^ 1^^" ^e ^nXd l^is figures, for he seemed 
 in the round; yet it cannot be said 'hat he env p b expression 
 ,o see everything in nature circumscribed ^V ^ P"" "" ^ed a little further 
 through design he exhibited a dua ""f .^ P"^""^'^^; ^^ ^t form part of a 
 in one direction, his drawmg of Judith m ^'^^""V^e Section, his Gou- 
 Greek vase painting; pushed J,'"''^ f""^" '", ^::rcaricatures. Though an 
 zaga nobles of the Mantuan Castello would ^e-^e ^^ ^f ^,„„,em- 
 ea?nest student of the antique ""'''j;]';"y elevated realism and noble 
 porary life as well. Moving in this wide gamut ol elevat 
 
34 MASTERSINART 
 
 idealism, he always preserved a loftiness of feeling which made him at times a 
 
 peer of Michelangelo, while he possessed a ternbilita of his own a quarter of a j 
 
 century before the great Tuscan began to work. His love of sculptural repose 
 
 and dignity did not prevent him from being intensely dramatic in his predella 
 
 of the San Zeno Madonna, and although his figures often grimace and distort I 
 
 their features, yet the contortion which became pathos with Bellini deepened 
 
 into tragedy with Mantegna. 
 
 As might have been predicted, this lover of sculpture was lacking in feeling 
 for color, a deficiency which few critics have noted, and which the late Paul 
 Mantz has characterized admirably, remarking that Mantegna was a "bril- 
 liant but rather venturesome colorist," and that, "tones which are fine, if con- 
 sidered by themselves, are heard above the general harmony of the music, and 
 are rather autonomous than disciplined.". . . 
 
 In his earlier works, the frescos of the Eremitani of Padua, Mantegna is in 
 his coloring like a child with a toy paint-box, spotting out impartially here a 
 yellow mantle and there a green tunic, without reference to any general scheme 
 of color. He learned later from Bellini to use rich, strong tones in the Ma- 
 donnas of San Zeno, at Verona, and of Victory in the Louvre. Whether the 
 unevenness, the lack of composition of color in those works, was wholly Man- 
 tegna's fault we cannot tell; for in considering the color of these, as of many 
 old pictures, we are unable to speak with confidence, since time has so altered 
 the relations that we can no longer in anywise verify the master's original ar- 
 rangement, and alterations would be peculiarly apt to occur in the heavy gar- 
 lands of Mantegna, with their coral and fruits, where the strong reds may 
 have remained brilliant, while the greens have fallen into warm, deep browns. 
 Nevertheless, when all allowance is made, it must be confessed that this mighty 
 master of style and of composition of lines was almost wholly lacking in the 
 sense of color-composition. Indeed, it could hardly be expected that the same 
 temperament which could so keenly perceive and so adequately render the 
 grave music of noble and exquisite line could be equally susceptible to the 
 deep-chorded harmonies of rich and subdued color. 
 
 Considering his whole product, his cartoons and his wall-pictures, his tem- 
 pera work and his engraving, we find that immediately after the five or six 
 greatest names in the history of Italian art comes that of Andrea Mantegna; 
 he stands at the head of the group of secondary painters which counted Ghir- 
 landajo, Botticelli, and Filippino Lippi, Bellini, Signorelli, and Perugino 
 among its members. His name brings with it the memory of a lofty and in- 
 tensely characterized style, of figures of legionaries, long and lean as North 
 American Indians, Roman in their costume, medieval in their sharp, dry sil- 
 houette; of saints, hard and meager, but statuesquely meager; of figures stern 
 almost to fierceness, yet exquisitely refined in the delicacy of their outline; of 
 realistic Mantuan nobles impressive in their ugliness; of stately Madonnas; 
 of charming boy angels, flying or holding up festoons of flowers and fruits; of 
 delicate, youthful figures with long curling hair and crinkled drapery, where 
 every tiny fold is finished as if in a miniature; of canvases filled with long 
 files of captives, with chariots loaded with treasure, with sky-lines broken by 
 
 [KiO] 
 
MANTEGNA 35 
 
 standards and trophies, with armored legionaries, curveting horses, elephants 
 with jeweled frontlets, and with statues towering above the crowd; of proces- 
 sions where the magnificent vulgarity of ancient Rome and the confused lav- 
 ishness of an antique triumph are subdued to measured harmonies and sculp- 
 tural lines. 
 
 Mantegna's is essentially a virile genius; he does not charm by suggestive- 
 ness, nor please by morbidezza; he lacks facile grace and feeling for facial 
 beauty; he is often cold, sometimes even harsh and crude, and in his disdain 
 for prettiness and his somewhat haughty distinction he occasionally impresses 
 us with a rather painful sense of superiority. Something of the antique statues 
 that he loved and studied and collected entered into his own nature and his 
 work. As Fra Angelico was the Saint, and Leonardo da Vinci the Magician, 
 Mantegna was the Ancient Roman of art. His were the Roman virtues, — 
 sobriety, dignity, self-restraint, discipline, and a certain masterliness, as in- 
 describable as it is impressive, — and to those who appreciate austere beauty 
 and the pure harmonies of exquisite lines Mantegna's art will always appeal. 
 
 C|)e l^orlts of iMantesna 
 
 DESCRIPTIONS OF THE PLATES 
 ♦ MADONNA WITH ST. JOHN AND MARY MAGDALENE' PLATE I 
 
 TO the closing years of the fifteenth century may be assigned this pic- 
 ture in the National Gallery, London. The Madonna, wearing a rose- 
 colored robe and a gray-blue mantle, is seated upon a low throne, beneath 
 a red canopy, humbly inclining her head towards the Christ-child, who 
 stands firmly poised upon her knee. On one side is St. John the Baptist with 
 cross and scroll, his gaunt figure draped in a garment of bluish purple; on 
 the other, Mary Magdalene, with fair hair and majestic mien, clad in robes 
 of green and pale purple. Dark green orange and lemon trees and a silvery 
 sky form the background. 
 
 "The tenderness and simplicity of the Virgin's face," writes Sir Edward |. 
 Poynter, "the beauty of the heads of the two saints, the exquisite drawing and 
 painting of the fruit-trees, the perfection of the execution, and the purity of the 
 color, all combine to make this picture one of Mantegna's masterpieces. The 
 draperies especially are of extraordinary beauty. The rose-colored dress of 
 the Virgin is delicately heightened with gold, and the garments of the two 
 saints are of materials shot with colors of exquisite harmonies. The whole 
 work is in perfect preservation." 
 
 'MEETING OF LODOVICO GONZAGA AND CARDINAL FRANCESCO' PLATE II 
 
 TEN years after his removal to Mantua, Mantegna began to decorate a 
 room in the Castello known as the "Camera degli Sposi" (the nup- 
 tial chamber), with frescos representing Lodovico, marquis of Mantua, sur- 
 
 [Kil] 
 
36 MASTERS IN ART 
 
 rounded by his family and court. Over the entrance door is a group of 
 winged boys bearing a tablet, and on the ceiling are medallions and mytho- 
 logical subjects, with a simulated circular opening in the center through 
 which figures in violent foreshortening look down over a balustrade. 
 
 In plate ii, the principal portion of one of the best preserved of the wall- 
 paintings of this famous room is reproduced. The marquis Lodovico, in 
 short riding-coat and wearing long spurs, stands at the left with his two eldest 
 grandsons, Francesco, afterwards marquis of Mantua, whose features even 
 in this early picture are the same that we see in his portrait introduced into 
 the 'Madonna of Victory' (plate vi), and a younger brother, Sigismondo, 
 afterwards a cardinal, who holds the hand of his uncle, Lodovico, the youth- 
 ful bishop of Mantua. Lodovico's hand in turn is clasped within that of his 
 older brother. Cardinal Francesco Gonzaga, whose meeting with his father, 
 the marquis, upon his return from Rome and prior to his state entry into 
 Mantua in 1472, forms the subject of this picture. At the extreme right, in 
 a stiffly plaited gold mantle, stands Federico Gonzaga, father of the two chil- 
 dren represented, and heir to the Mantuan principality. Nobles and attend- 
 ants are grouped about, and in the landscape background with its deep blue 
 sky is a walled city with monuments and ruins suggestive of Rome. 
 
 "Mantegna," as Mr. Blashfield has said, "here shows himself a realist. 
 The portrait figures are of a monumental ugliness which impresses at once b)' 
 its sincerity, and a dignity that is half grotesque and half majestic." The 
 composition is stiff and the figures are posed without any attempt at ease or 
 grace; but in spite of this, and notwithstanding the injured condition of the 
 frescos, the Camera degli Sposi offers one of the most perfect existing ex- 
 amples of domestic decoration. 
 
 «THE HOLY FAMILY' PLATE III 
 
 IN this picture, belonging to Dr. Ludwig Mond, London, the Christ-child 
 stands on the marble rim of a well, representing the hortus tnclusus, or in- 
 closed garden, the source, or fountain, of the Song of Solomon. In one hand 
 he holds an olive-branch, in the other a crystal globe. Beside him is the infant 
 St. John, pointing to the Lamb of God, and to the right St. Joseph, against 
 whose garnet-colored cloak is outlined the delicate profile of the Virgin, in- 
 clined in prayer. The background is composed of the dark green branches of 
 an orange-tree, gleaming with golden fruit. 
 
 "Whether we consider this canvas," writes Mr. Berenson, "from the point 
 of view of line or of color — a quality of which Mantegna is not often abso- 
 lute master — whether from the point of view of modeling or of expression, we 
 shall rarely find its rival among the other works of the great Paduan, and 
 never its superior." 
 
 Mr. Claude Phillips says that "apart from the originality of its composition 
 the most unusual feature of this work is the strange and profound spirit of 
 mysticism which pervades it. This is no usual 'Holy Family,' where the 
 Virgin, while adoring, protects the divine Child, nor is it any mere portrayal 
 of the Infant Jesus; it is rather the Christ, who, with all the appearance of a 
 
 [102] 
 
M ANTEGN A 37 
 
 God, stands erect upon the margin of the well as upon a throne, while all 
 present devoutly humble themselves before this radiant manifestation of 
 divinity." 
 
 » T H E C R U C I F I X I O N • P I. A T E 1 V 
 
 IN 1457-59 Mantegna painted a large altar-piece in six parts for the Church 
 of San Zeno, Verona. The enthroned Madonna and Child, surrounded by 
 singing angels, occupy the main central division; on either side are four stand- 
 ing figures of saints, while the three lower panels forming the predella repre- 
 sent, in the center, 'The Crucifixion,' and in the side compartments 'The 
 Agony in the Garden' and 'The Resurrection.' This picture was carried off 
 to Paris by the French in 1797, but in 18 15 the three panels composing the 
 body of the altar-piece were restored to Italy, and are now in their original 
 place in Verona. The predella, however, was not returned. Its two side di- 
 visions are in the Tours Museum, while the finest of the three, 'The Cru- 
 cifixion,' here reproduced, remained in Paris, and is now in the Louvre. 
 
 In this little panel, measuring not much more than two feet high by three 
 feet wide, many characteristics of Mantegna's art are to be found — the com- 
 position, built up with geometrical precision, the carefully studied perspective, 
 the figures unnaturally elongated, yet drawn with bold and severe realism, 
 the sculpturesque draperies, the landscape, in which the rocky foreground has 
 the appearance of being cut with a chisel; above all, the impressive dramatic 
 effect, produced not so much by any violent movement as by contrast in the 
 delineation of character and feeling. 
 
 In his later works Mantegna displays a greater freedom, a less uncompro- 
 mising severity, a keener sense of abstract beauty; but in depth of pathos and 
 in power of dramatic feeling this picture of the Crucifixion is unsurpassed. 
 
 «THE TRIUMPH OF CiESAR' [fourth SECTION] PLATE V 
 
 IN this great work, painted between 1484 and 1492 for Francesco Gonzaga, 
 Mantegna has portrayed in a series of nine pictures a triumphal procession 
 of a Roman conqueror. Probably intended to adorn a long gallery in the mar- 
 quis's palace of San Sebastiano, at Mantua, six of these canvases were at one 
 time used as the stage decorations of a theater temporarily fitted up in the 
 Castello for the performance of Latin plays. In 1627 the whole work was 
 bought for King Charles i. by his agent in Italy, Daniel Nys, and taken to 
 England, where it now forms the chief treasure of the Royal Gallery of Hamp- 
 ton Court. In the eighteenth century it was barbarously "restored " b\- Louis 
 Laguerre, so that to-day but little remains of Mantegna's splendid work save 
 the composition and general forms; but even in its present state of ruined 
 grandeur 'The Triumph of Caesar' ranks as one of the greatest achievements 
 of the early Renaissance. 
 
 The painting is on canvas, in tempera, and is light in color and decorative 
 in effect. Each of the nine sections measures nine feet square, so that the 
 whole work extends for a distance of eighty-one feet. The first section shows 
 the trumpeters and standard-bearers heading the procession; these are fol- 
 
 [l(>:n 
 
38 MASTERS IN ART 
 
 lowed by warriors with battering-rams and the captured images of gods, 
 armor, and other trophies of war; then come bearers of costly vessels, more 
 trumpeters, and white oxen wreathed for sacrifice and led by beautiful youths 
 (see plate v); next come elephants carrying flaming candelabra on their backs, 
 then soldiers with more booty, and, following these, a line of captives, men, 
 women, and children, mocked and taunted by jesters and clowns; then more 
 soldiers and standard-bearers, and finally, in the last section of all, the mag- 
 nificent triumphal car in which Julius Caesar himself is seated, while behind 
 a winged figure of Victory crowns the conqueror with laurel. 
 
 'The Triumph of Caesar' is, as has been said, "a superb exposition of what 
 Mantegna loved best to study and express; it is the very quintessence of his 
 genius." "This rhythmic procession," writes John AddingtonSymonds," mod- 
 ulated to the sound of flutes and soft recorders, carries our imagination back 
 to the best days and strength of Rome. . . . The life we vainly look for in the 
 frescos of the Eremitani chapel may be found here — statuesque, indeed, in 
 style and stately in movement, but glowing with the spirit of revived antiquity. 
 The processional pomp of legionaries bowed beneath their trophied arms, the 
 monumental majesty of robed citizens, the gravity of stoled and veiled priests, 
 the beauty of young slaves, and all the paraphernalia of spoils and wreathes 
 and elephants and ensigns, are massed together with the self-restraint of noble 
 art subordinating pageantry to rules of lofty composition. What must the 
 genius of the man have been who could move thus majestically beneath the 
 weight of painfully accumulated erudition, converting an antiquarian motive 
 into a theme for melodies of line composed in the grave Dorian mood ?" 
 
 'THEMADONNAOFVICTORy PLATEVI 
 
 THIS picture, the most sumptuous of Mantegna's altar-pieces, was painted 
 to commemorate what was claimed to be a victory by Francesco Gon- 
 zaga, general of the Venetian troops, over the French army at Fornovo under 
 Charles viii. Although Gonzaga acquited himself with bravery, the battle, 
 as a matter of fact, terminated not in victory but in defeat for the young mar- 
 quis, who had vowed, should success attend him, to dedicate a church to the 
 Madonna; and exactly a year afterwards, on July 6, 1496, Mantegna's great 
 canvas of the 'Madonna of Victory,' painted by order of Francesco, was con- 
 veyed in solemn procession from the artist's studio in Mantua to the new 
 church built after Mantegna's own designs for its reception. Three hundred 
 years later, in 1797, the French carried off^the picture as a trophy of war to 
 Paris, where it has ever since been one of the treasures of the Louvre. 
 
 Under an arched bower of green foliage adorned with golden fruit' and red 
 coral, the Madonna, wearing a red robe interwoven with gold and a blue 
 mantle lined with green, and holding on her knee the upright figure of the 
 Child, is seated upon a richly decorated throne of colored marble. At her feet, 
 his dark face turned upward to the holy group, kneels Francesco Gonzaga, 
 clad from head to foot in armor. Opposite him is the kneeling figure of St. 
 Elizabeth, in a green dress and orange-colored head-dress, and beside her 
 the little St. John. The heads of St. Andrew and St. Longinus, the patron 
 
 [104] 
 
MANTEGNA 39 
 
 saints of Mantua, are seen in the background, while on either side of the Ma- 
 donna, holding the hem of her outspread mantle, stand the warrior-saints, St. 
 Michael and St. Georee. 
 
 "In the 'Madonna of Victory,'" writes Herr Kristeller, "Mantegna goes 
 far beyond the art methods of his day. The picture represents the freest and 
 most mature form of religious composition which the art of the Renaissance 
 was capable of attaining prior to Raphael, Titian, and Correggio, and was 
 the prototype, or point of departure, of the creations of the great masters of 
 the golden age." 
 
 'ST.JAMESBEFOREHERODAGRIPPA" I'LATE \1I 
 
 MANTEGNA'S earliest important works are his famous frescos in the 
 Chapel of St. James and St. Christopher in the Church of the Eremitani 
 in Padua. The commission to decorate this chapel with scenes from the lives 
 of their patron saints was given by its owners, the Ovetari family, to Squar- 
 cione, who intrusted the work to his pupils, chief among whom were Niccolo 
 Pizzolo and Mantegna, and so wide a reputation did these frescos attain that 
 when completed the chapel became throughout the north of Italy a sort of 
 school for the study of style. 
 
 A difference of opinion exists among critics as to the extent of Mantegna's 
 share in the decorations, but it is generally agreed that six of the principal wall- 
 paintings — four from the life of St. James and two from that of St. Chris- 
 topher — are attributable to his hand. Of these the one representing 'St. 
 James before Herod Agrippa' is here reproduced. The scene, a Roman court- 
 room, is imposing in its stately architectural setting. The saint, clad in a dark 
 green mantle and surrounded by Roman soldiers, stands before the judgment- 
 seat of Herod. We are conscious in this picture of the artist's preoccupation 
 with the problems of perspective, as well as of his "tendency to subordinate 
 the human to the architectural interests." A statuesque immobility marks 
 many of the figures, notably that of Herod and of the isolated warrior to the 
 left (said to be a portrait of the artist), but there are also perceptible — in the 
 attitudes of some of the guards and in the natural pose of the officer within 
 the marble paling — signs of the beginning of that gradual emancipation ot 
 Mantegna's art from the lifeless rigidity of form which characterized his work 
 at this early period to the broader, freer, and more natural treatment of his 
 later productions. 
 
 'MADONNA AND CHILD WITH CHERUBS' PLATE VIII 
 
 WHEN, in 1885, this picture, now in the Brera Gallery, Milan, was sub- 
 jected to a thorough cleaning it was found to be not a work of the school 
 of Giovanni Bellini, as it had long been considered, but a veritable Mantegna, 
 a fine example of the artist's middle period. Signor Frizzoni, Signor Morelli, 
 and others, believe it to be the identical picture painted by Mantegna in 1485 
 for the Duchess Eleonora of Ferrara, whose daughter, Isabella d'Este, was 
 then betrothed to Francesco Gonzaga, marquis of Mantua, — the "painting 
 on wood of Our Lady and the Child with Seraphim," concerning which 
 
 [Kir,] 
 
40 MASTERS IN ART 
 
 many letters passed between the duchess and her future son-in-law, and which 
 long remained in the possession of the Este family at Ferrara. 
 
 The Madonna, one of the most beautiful ever painted by Mantegna, wear- 
 ing a red robe and a hooded mantle of blue lined with green, holds on her knee 
 the standing figure of the Child, who, with arms clasped about his mother's 
 neck, is listening with rapt expression to the song of the encircling angels float- 
 ing with outspread bright-colored wings among the clouds. 
 
 'I'ORTRAITOFCARDINALSCARAMPI' PLATEIX 
 
 AMBITIOUS, talented, passionate, and unscrupulous, Lodovico Scarampi 
 >. was one of the most remarkable men of his day in Italy. Born in Padua 
 in 1402, he became distinguished as a leader of the papal troops, and as a re- 
 ward for his military services was invested with high ecclesiastical honors, be- 
 ing created archbishop of Florence, patriarch of Aquileia, bishop of Bologna, 
 and finally given a cardinal's hat. From his rich revenues he amassed enor- 
 mous wealth, and lived with a lavish display of luxury, dying in 1465, from 
 disappointment, it was said, that he never succeeded to the papal chair. 
 
 In Mantegna's famous portrait in the Berlin Gallery, painted probably in 
 Padua in 1459, Cardinal Scarampi is clad in a red silk cloak and a finely 
 plaited white surplice. The powerful head with its crop of short gray hair has 
 the appearance of being cast in bronze, and the stern features, sharply cut 
 mouth, keen eyes, and contracted brows reveal in all its force the character 
 which history has handed down to us of the arrogant, iron-willed priest. 
 
 'I'ARNASSUS' PLATE X 
 
 SOON after 1500, Mantegna, then seventy years of age, painted for the 
 study of Isabella d'Este, in the Castello of Mantua, two pictures, repre- 
 senting, one 'The Triumph of Wisdom,' the other 'Parnassus.' 
 
 For all paintings destined for her own special room Isabella gave exact di- 
 rections as to subject, composition, distribution of light, and dimensions. It 
 was her custom to provide any artist she employed, not only with a sketch, 
 but to send him pieces of ribbon denoting the requisite height and width of 
 the picture ordered. In carrying out her wishes in regard to the work here 
 reproduced, "Mantegna," writes Miss Cruttwell, "entered on a new phase of 
 development, and showed himself already a sixteenth-century painter — the 
 precursor, one might almost say, of Poussin and Watteau." 
 
 The scene represents 'Parnassus,' the favorite haunt of Apollo and the 
 Muses, where, upon a rocky archway crowned with orange-trees, stand Mars, 
 god of war, and Venus, goddess of love and beauty. At their side is Cupid 
 playfully casting darts at Vulcan, who is seen at his forge on the left. In a 
 meadow below, the Muses, in light garments of varied tints, dance to the mu- 
 sic of Apollo's lyre, celebrating the triumph of love, and at the right is Mer- 
 cury, messenger of the gods, and himself the god of eloquence, with the winged 
 horse, Pegasus, beside him. 
 
 In this picture, conceived with the brightness of youth, "all the aged paint- 
 er's knowledge of classic lore," writes Paul Mantz, "finds expression, but 
 
 [16(1] 
 
M ANTEGN A •.•,"•'..'...' 1 '^fj'" ;\ : 
 
 devoid of the archaism and austerity which characterize his early works. 
 Such defects have disappeared, and only pure rhythm and harmony of line 
 remain. It is the very flower, the essence, of the poetry of the Greeks." 
 
 After the sack of Mantua in 1630, 'Parnassus' and its companion, 'The 
 Triumph of Wisdom,' were taken to France, and are now in the Louvre, Paris. 
 
 A LIST OF TUK PRINCIPAL PAINTINGS BY MA N TEG N A 
 WITH THEIR PRESENT LOCATIONS 
 
 M ANTEGN A'S wall-pa'ntings are spoken ot as frescos, but as a matter of fact they 
 were executed in tempera upon a dry surface. Tempera was also the medium he 
 invariably used tor his easel-pictures. 
 
 AUSTRIA. Vienna, ImperialGallery: St. Sebastian — DENMARK. Copenhagen, 
 .Museum: Christ upheld by Angels — ENGLAND. Hampton Court, Royal 
 Gallery: Triumph of Ca;ar (nine sections) (see plate v) — London, National Gal- 
 lery: Madonna with St. John and Mary Magdalene (Plate l); Agony in the Garden; 
 Samson and Delilah; Triumj^h of Scipio — London, Owned by Lady Ashburton : Ado- 
 ration of the Magi — London, Owned by Dr. Ludwig Mond: Holy Family (Plateiii) — 
 FRANCE. AiGUEPERSE, Puy-de-D6me, Church of Notre Dame: St. Sebastian — 
 Paris, LouvRE: Crucifixion (Plate iv); Madonna of Victory (Plate vi); Parnassus (Plate 
 x); Triumph of Wisdom; Judgment of Solomon — Paris, Owned by Madame Andre- 
 Jacquemart: Madonna and Saints — Tours, Museum: Agony in the Garden; Resurrec- 
 tion— GERMANY. Berlin Gallery: Portrait of Cardinal Scanimpi (Plate ix); Pres- 
 entation of Christ — Berlin, Owned by Herr Simon: Madonna and Child — Dresden, 
 Royal Gallery: Holy Family — IRELAND. Dublin Gallery: Judith — ITALY. 
 Bergamo, Carrara Gallery: Madonna and Child — Florence, Uffizi Gallery: 
 Altar-piece in three parts; Madonna of the Quarries — Mantua, Castello, Camera de<;li 
 Sposi: [wall frescos] Lodovico Gonzaga and his Family; Meeting of Lodovico Gonzaga 
 and Cardinal Francesco (Plate li) ; Winged Children with Tablet; [ceiling frescos] Figures 
 leaning over Balustrade with playing Children; Medallions; Mythological Scenes — Milan, 
 Brera Gallery: Altar-piece of St. Luke with Saints and Pieta; The Dead Christ; Ma- 
 donna and Child with Cherubs (Plate viii) — Milan, Poldi-Pezzoli Collection: Ma- 
 donna and Child — Milan, Owned by Prince Trivulzio: Altar piece of Madonna and 
 Saints — Naples, Museum: St. Euphemia; Portrait of the Prothonotary Lodovico Gonzaga 
 
 — Padua, Church of Sant' Antonio: [fresco over portal] St. Anthony and St. Bernard 
 
 — Padua, Church of the Eremitani, Chapel of St. James and St. Christopher: 
 [frescos] St. James Bajitizing; St. James before Herod Agrippa (Plate vii); St. James led 
 to Execution; Martyrdom of St. James; Martyrdom of St. Christopher; Rtmoval of the 
 Body — Venice, Academy: St. George — Venice, Owned by Baron Franchetti: St. 
 Sebastian — Venice, Querini-Stampalia Collection: Presentation of Christ — Verona, 
 Church of San Zeno: Madonna Enthroned with Saints — SPAIN. Prado Gallery: 
 Death of the Virgin — UNITED S FATES. Boston, Collection of Mrs. John L. 
 Gardner: Madonna and Child with Saints. 
 
 [1.17 1 
 
42 MASTERSINART 
 
 A LIST OF THE PRINCIPAL BOOKS AND MA(;AZ1NE ARTICLES 
 DEALING WITH MANTEGNA 
 
 THE most exliaustive work on Mantegna that has yet appeared is Paul Kristeller' s 'Andrea 
 Mantegna,' translated into English by S. A. Strong (London, 1901), A brief and ex- 
 cellent study of the artist is by Maud Cruttwell (London, 1901). Among other monographs 
 may be mentioned those by Julia Cartwright (London, 1881), Paul Mantz (Gazette des 
 Beaux-Arts, 1886), Henry Thode (Leipsic, 1897), and Charles Yriarte (Paris, 1901). 
 
 ARCO, C. d\ Delle arti e degli artefici di Mantova, Mantua, 1857-59 — Arco, C. 
 XA. d\ Storia di Mantova. Mantua, 187a — Bartsch, A. v. Le Peintre-Graveur. Vi- 
 enna, 1803-21 — Blashfield, E. H. and E. W. Italian Cities. New York, 1901 — 
 Brandolese, p. Testimonianze intorno alia Patavinita di Mantegna. Padua, 1805 — 
 Campori, G. Lettere inedite. Modena, 1866 — Cartwright, J. Mantegna and Fran- 
 cia. London, 1881 — CoDDE, P. Memorie biografiche dei pittori Mantovani. Mantua, 
 1837 — Crowe, J. A., and Cavalcaselle, G. B. History of Painting in North Italy 
 London, 1871 — Delaborde, H. La gravure en Italic. Paris [1883] — Duplessis, G. 
 CEuvre de A. Mantegna reproduit et public par Amand-Durand. Paris, 1878 — Gave, 
 J. Carteggio incdito. Florence, 1839-40 — Goethe, J. W. von. Triumphzug von Man- 
 tegna (in Schriften zur Kunst). Weimar, 1898 — Kristeller, P. Andrea Mantegna: 
 Trans, by S. A. Strong. London, 1901 — Kugler, F. T. The Italian Schools of Paint- 
 ing: Revised by A. H. Layard. London, 1900 — Law, E. The Royal Gallery of Hamp- 
 ton Court. London, 1898 — Morelli, G. Italian Painters: Trans, by C. J. Ffoulkes. 
 London, 1892-93 — Muntz, E. Histoire de Tart pendant la Renaissance. Paris, 1891- 
 95 — Ridolfi, C. Le maraviglie dell' arte. Venice, 1648 — Scardeone, B. De antiqui- 
 tate Urbis Patavii. Basel, 1560 — Sf.lvatico,P.E. Squarcionestudii storico-critici. Padua, 
 1839 — Selvatico, P. E. Sul merito artistico del Mantegna. Padua, i 844 — Svmonds, J. 
 A. Renaissance in Italy. London, 1897 — Thodf,, H. Mantegna. Leipsic, 1897 — Vasari, 
 G. Lives of tlie Painters. New York, 1897 — Waagen, G. F. Uber Leben, Wirken 
 und Werke der Maler Andrea Mantegna, etc. (in Historisches Taschenbuch). Leipsic, 
 1850 — Woltmann, a. Mantegna (in Dohme's Kunst und Kiinstler, etc.). Leipsic, 
 1878 — Yriarte, C. Mantegna. Paris, 1901. 
 
 magazine articles 
 
 ARCHIVIO storico dell' arte, 1888: C. de Fabriczy; II busto in rilievo di Man- 
 -tegna attribuito alio Sperandio. 18S8: S. Davorij Lo stemma di Mantegna. 1889: 
 E. Mimtz; Andrea Mantegna e Piero della Francesco. 1889: E. Miintz; Nuovi docu- 
 ment!. L'Art, 1886: A. Milanij Un nouveau tableau de Mantegna au Musee Brera — 
 Courrier de l'art, 1888: Fabriczy, C. de; Notes sur le buste de Mantegna, etc. — 
 Gazette des Beaux-arts, 1866: A. Baschet; Recherches dans les archives de Mantoue. 
 1886: P. Mantz; Andrea Mantegna. 1894: C. Yriarte; Les Gonzague dans les fresques 
 du Mantegna. 1895: C. Yriarte; Isabelle d'Este et les artistes de son temps — Giornale 
 d'erudizione ARTisTiCA, 1872: W. Braghirolli; Alcuni document! relative ad Mantegna 
 — Jahrbuch der Koniglich preussischen KuNSiSAMMLUNGEN, 1901: R. Forster; 
 Studien zu Mantegna und den Bildern in Studierzimmer der Isabella Gonzaga — Qt'ARTERLY 
 Review, 1902: Anonymous; Andrea Mantegna — Zeitschrift fur bildende Kunst, 
 1875: C. Brun; Andrea Mantegna im Museum zu Tours. 1876: C. Brun; Neue Doku- 
 mente iiber Mantegna. 1881 : C. Brun; Ein Bild Mantegna's und der crste Entvvurf dazu. 
 1882: C. Brun; Andrea Mantegna luui D. Hopfer. 1886: G. Frizzoni; Ein merkwiirdi- 
 ger Fall von malerischer Ausgrabimg. 
 
 [168] 
 
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 •♦COLONIAL FURNITURE," FOR IT ILLUSTRATES THE VERY 
 
 aXAMPLES FROM WHICH OUR COLONIAL DESIGNERS COPIED 
 
 fLnglish Househ old Furniture 
 
 Georgian Period ^ 100 Plates 
 
 F""^OR hundreds of years English private col- 
 lectors have been acquning the finest speci- 
 ^^^^ mens of Georgian furnitur*», and recently 
 ^^^ more than a score of the most noted of them 
 8Wg»J contributed their finest pieces to a loan 
 exhibition at the South Kensington Museum. 348 
 specimens, the cream of the exhibition, were then 
 photographed, and these photographs are excellently 
 reproduced in this work. It will be evident that the 
 book presents the very finest examples of Georgian 
 (or Colonial) furniture now existing. The /arir.ty of 
 pieces shown rs very ^reat, and 1 m^es f^-oni the 
 simplest to the most elaborately carved ; the photo- 
 graphs have been made expressly for ' se with 
 visible scales; the index gives complete desciio'Vc 
 details. The book is worth its price to any one v. ho 
 designs in the Colonial style because of ts infinite 
 suggestiveness for all kinds of decorative cleta I in 
 that style, quite apart fr'^m the subjec* of furniture. 
 
 In Portfolio, $10.00, Expreaa Paid 
 Bound - - $12.00, Exproa Paid 
 
 UNIFC:^M IN SIZE AND GTNERAL STYLE WITH «' ENGLISH 
 
 COUNTRY HOUSE''*." "ENGLISH COUNT !Y .'riURCHES" 
 
 AMD "MODERN FRENCH A RCHITECVURE." 
 
 DESCRIPTIVE LIST O'' l LATES SENT 
 
 ON APPMCAI ON 
 
 42 CHAUNCY STRILE^T, BOSTON, MASS. 
 
 li *n^ Til g ^idrertisenicnLN. (Ira.^c mcntioi VI asters "N Art 
 
 PrimtMl fi I'lte Ja trait Pras