DOI Page / Citation link:
https://doi.org/10.11588/diglit.62360#0140
THE TRIUMPH OF (TESAR
77
Now, how did this splendid example of Mantegna’s
work find its way to a neglected, almost unknown,
French village? The conjecture of M. Paul Mantz is
most probably correct, and confirms the evidence of
the work itself as to the dating. Aigueperse was a fief
of Gilbert de Bourbon, Comte de Montpensier, whose
castle was in the neighbourhood, and by whose family
the church in which the picture stands was founded.
In 1481 he was married to Clara Gonzaga, sister of
the Marquis Francesco, and it is probable that the
picture was included in her dowry, and taken by her
to her Auvergne home.1
This is the last time, except in the more modernly-
treated allegories of the Louvre, that Mantegna dwells
on distant background, where little incidents are
depicted with the care of a miniaturist, each tree and
plant clearly to be discerned. From henceforth he
concentrates his attention altogether on the main
theme, with a breadth of technique almost Venetian,
and in addition a growing buoyancy and freedom
of outlook in his figures. These qualities are well
illustrated by a group of paintings probably executed
not long before the Roman visit, including the
Madonnas of the Brera, of Turin, and of Dresden, and
the so-called Hortus Inclusus of Dr Mond.
Of this group the earliest seems to be the Madonna
of the Brera; a picture which has undergone many
1 See M. Mantz’ article “ Une Tournee en Auvergne,” containing a
fine reproduction of the picture. “Gaz. des Beaux Arts,” N.S. xxxiv., p. 376.
The picture was exhibited in 1863 at Clermont-Ferrand, and thus de-
scribed in the catalogue “ S. Sebastian : Tableau peint en detrempeprovenant
de la Maison de Bourbon, attribue a Mantegna”; which confirms his
suggestion.
77
Now, how did this splendid example of Mantegna’s
work find its way to a neglected, almost unknown,
French village? The conjecture of M. Paul Mantz is
most probably correct, and confirms the evidence of
the work itself as to the dating. Aigueperse was a fief
of Gilbert de Bourbon, Comte de Montpensier, whose
castle was in the neighbourhood, and by whose family
the church in which the picture stands was founded.
In 1481 he was married to Clara Gonzaga, sister of
the Marquis Francesco, and it is probable that the
picture was included in her dowry, and taken by her
to her Auvergne home.1
This is the last time, except in the more modernly-
treated allegories of the Louvre, that Mantegna dwells
on distant background, where little incidents are
depicted with the care of a miniaturist, each tree and
plant clearly to be discerned. From henceforth he
concentrates his attention altogether on the main
theme, with a breadth of technique almost Venetian,
and in addition a growing buoyancy and freedom
of outlook in his figures. These qualities are well
illustrated by a group of paintings probably executed
not long before the Roman visit, including the
Madonnas of the Brera, of Turin, and of Dresden, and
the so-called Hortus Inclusus of Dr Mond.
Of this group the earliest seems to be the Madonna
of the Brera; a picture which has undergone many
1 See M. Mantz’ article “ Une Tournee en Auvergne,” containing a
fine reproduction of the picture. “Gaz. des Beaux Arts,” N.S. xxxiv., p. 376.
The picture was exhibited in 1863 at Clermont-Ferrand, and thus de-
scribed in the catalogue “ S. Sebastian : Tableau peint en detrempeprovenant
de la Maison de Bourbon, attribue a Mantegna”; which confirms his
suggestion.