use; this he enjoyed while he lived.[1] He departed to a better life in the year 1517, and was buried with honourable obsequies in Sant’ Andrea; on his tomb,[2] over which is his likeness in bronze, was placed the following epitaph: —
“Esse harem hunc novis, si nan praeponis Apelli
Ænea Mantineae qui simulacra vides”
Andrea Mantegna was so kindly in all his actions, and in every way so estimable, that his memory must ever be held in cordial respect, not only in his own country, but through the whole world; he therefore well merited, no less for the purity of his life and gentle courtesy of his manners, than for the excellence of his paintings, the distinction of being celebrated by Ariosto, who, in the commencement of his xxxiii canto, enumerates him among the most illustrious painters of his time, as thus:
“Leonardo, Andrea Mantegna, Gian Bellina”
This master taught a much improved method of executing the foreshortening of figures from below upwards, which was, without doubt, a remarkable and difficult invention.[3] He also took great pleasure, as we have related before, in the reproduction of figures by engraving on copper, which is indeed a truly valuable acquisition to art; for by this means not only has the whole world obtained the power of seeing many of his works, as, for example, the Bacchanalia, the Battle of Marine Monsters, the Deposition from the Cross, the Sepulture of Christ, and his Resurrection, with Longinus and Sant’Andrea, all engraved by Mantegna himself, but in like manner every one is now enabled to judge of tlie manner of all the masters who have ever lived.
- ↑ The later Italian commentators insist on making us believe their less encouraging declaration, that Mantegna passed the latter part of his life, not in the ease described by Vasari, but in grinding poverty; they further maintain, that he was not able to continue in the house he had built.
- ↑ The date of Mantegna’s death is well-authenticated. He died in 1506. The date, 1516, is placed over the bust which surmounts his tomb, but is not the date of the master’s death.
- ↑ See Ottley, Italian Schools of Design, p. 16. One of the most remarkable instances of the pleasure taken by Mantegna in contending with the difficulties of foreshortening is said to be that of the Dead Christ at Milan (in the Brera). There are four paintings by this master at Hampton Court, besides the Triumph of Caesar: and in the Pembroke Gallery is that of Judith and Holoferncs, described in the text, see p. 271.
