pupil of Squarcione in Padua; but he still continued to perfect it. Several works produced during his latter years are yet extant at Mantua; and far surpassing the rest is his picture of Victory, painted upon canvass. Another is the Virgin, amidst various saints, among whom S. Michele the Archangel, and S. Maurizio, are seen holding her mantle, which is stretched over Francesco Gonzaga; he is in a kneeling posture, while the Virgin extends her hand over him in sign of protection: more in the background appear the two patrons of the city, S. Andrea and S. Longino, and the infant St. John before the throne, with S. Anna, as is supposed at least by Vasari and Ridolfi, little exact in their description of this picture, inasmuch as the rosary held in her hand distinguishes her for the princess, consort of the Marchese, kneeling at her husband's side. Mantua, perhaps, boasts no other specimen equally sought after and admired by strangers; and though produced in 1495, it is still free, in a conspicuous degree, from the effects of three ages, which it has already survived. It is truly wonderful to behold carnations so delicate, coats of armour so glittering, draperies so finely varied, with ornamental fruits still so fresh and dewy to the eye. Each separate head might serve as a school, from its fine character and vivacity, and not a few from imitation of the antique; while the design, as well in its naked as in its clothed parts, expresses a softness which sufficiently repels the too general opinion, that the stiff style and that of Mantegna are much the same thing. There is also an union of colours, a delicacy of hand, and a peculiar grace, that to me appears almost the last stage of the art towards that perfection which it acquired from Lionardo. His works upon canvass remind us of that exquisite taste to which he had been habituated by Squarcione, who supplied him with pictures of the same kind from various places, and indeed the whole of the above specimen discovers him to have been an artist who spared neither his colours nor his time, to produce works that might satisfy his own ideas, as well as the eye of the spectator.

His great masterpiece, nevertheless, according to the judgment of Vasari, is the Triumph of Cæsar, represented in different pictures, which, becoming the prey of the Germans in the sackage of the city, were finally sent into England. They belonged to a great hall in the palace of S. Sebastiano, "which was completed," says Equicola, an historian of his native place, "by Lorenzo Costa, an excellent artist, who added to it all that pomp which used to attend upon a triumph, besides the spectators before wanting." But these pictures having perished, there yet remain other considerable relics from the works of Andrea, in a saloon of the castle, entitled by Ridolfi the Camera degli Sposi. We there behold copious productions executed in fresco, and among them several portraits of the Gonzaga family, still in good preservation; and some Genii drawn over a door-way, so joyous, animated, and airy, that nothing can be supposed to surpass them. Among collections of art we more rarely meet with specimens of him than is really believed, his genuine hand being recognized, not only by its lightness, by its rectilinear folds, or by its yellowish landscape, spread with certain minute and broken little stones; but by the skill of its design and the delicacy of its pencil. It does not appear that he produced many pictures for private exhibition, engaged as he was in works of greater magnitude, and upon many engravings. More than fifty of these last have been enumerated, for the chief part abounding with figures; labours which must have occupied a large portion of his best time. But there are some persons, as I have observed, (vol. i. p. 136,) who would considerably reduce this number, whether correctly or not posterity will, perhaps, ascertain.

The style of Andrea greatly influenced that of his age, and imitations of it are to be seen even beyond his school, which was extremely flourishing in Mantua. We enumerate among his most distinguished disciples Francesco, and one of his other sons. There is a paper yet extant, in which they undertake to complete the chamber of the castle just alluded to, of which their father Andrea had only painted the walls. To these they added the beautiful vaulted recess. Whoever examines it must confess that the science of foreshortening, originally attributed to Melozio, was here improved and nearly brought to perfection by Mantegna and his sons. In the same work appear several exquisitely drawn infantine figures, under different points of view, and admirably shortened, so as to lose nothing in comparison with those of Melozio, though his painting of Paradise, drawn for the church of SS. Apostoli, was afterwards cut down and placed in the grand Palazzo Quirinale. The same sons of Mantegna likewise added lateral pictures to an altar-piece of their father, in a family chapel they had, attached to the church of S. Andrea; and in the same place they raised a beautiful monument to his memory in 1517, which has been falsely supposed by some to be the year of his death, whereas it appears, from many authentic works, that he closed his days in 1505.

After the death of Mantegna, Lorenzo Costa held the first rank, an artist of whom we shall treat more at length in the Bolognese School. He adorned the palace with various histories, and the churches with many of his pictures, continuing under Francesco to reside in the same place, and afterwards under Federigo, until beyond the year 1525, in which time he produced also his picture for his family chapel. There too, like Mantegna, he wished to have his remains deposited. Following his example, he established his family in Mantua, where some of his descendants will again appear at a more modern epoch. But the young Mantegni must be referred to this more ancient period, and along with them ought to be mentioned Carlo del Mantegna, who having studied some length of time under Andrea, and cultivated a complete acquaintance with his style, afterwards introduced it, as we shall shew, into Genoa. Carlo is supposed to have assisted in the labours of the palace and the chapel above mentioned, as well as in many others ascribed to the disciples of Mantegna, among which are two histories of the ark preserved in the monastery of S. Benedetto at Mantua, where Andrea's manner appears somewhat more amplified, though boasting less beautiful forms. But few certain productions of his followers can be fixed upon, their labours being confounded by connoisseurs, from their resemblance of their style and name to those of their master. And it has thus happened in an extremely interesting historical point; for Coreggio having studied, it appears, under Francesco Mantegna, was believed a scholar of Andrea, already deceased before Allegri had attained his twelfth year.

Still more celebrated than the preceding were the names of Gianfrancesco Carotto and Francesco Monsignori, of Verona. Such was the progress made by the former, that Andrea was in the habit of sending forth his labours as the work of his own hand. He was celebrated for his portraits; and for his composition, equally excellent in large as in small pieces; and he was employed by the Visconti, at Milan, as well as in the court of Monferrato, and to a still greater extent in his native place. Although an artist who flourished at so early a period, in a few of his pictures he might be pronounced more great and harmonious than Andrea himself; as we may gather from his fine altar-piece of S. Fermo, at Verona, and from that of his Angioli, at Santa Eufemia, whose side pictures represent two virgins, very manifestly imitated from Raffaello. He is not to be confounded with Giovanni Carotto, his brother and his