DOI Page / Citation link:
https://doi.org/10.11588/diglit.51584#0156
152
EARLY ITALIAN PAINTERS.
talent; but it appears that he painted little, em-
ployed his scholars to execute what works were
confided to him, and gave himself up to the business
of instruction. '
Andrea Mantegna was only known in the
academy of Squarcione as a poor boy, whose talent
and docility rendered him a favourite with his
master. He worked early and late, copying with
assiduity the models which were set before him,
drawing from the fragments of statues, the busts,
the bas-reliefs, ornaments, and vases with which
Squarcione had enriched his academy. At the age
of nineteen Andrea painted his first great picture,
in which he represented the four evangelists; his
imagination and his pencil familiarized only with
the forms of classical art, he gave to these sacred
personages the air and attitude of heathen philo-
sophers, but they excited nevertheless great ap-
plause.
At this time the Venetian Jacopo Bellini,
father of the two great Bellini, of whom we shall
have to speak presently, arrived in Padua, where
he was employed to paint some pictures. He was
considered as the rival of Squarcione, both as a
painter and teacher. Andrea was captivated by
the talents and conversation of the Venetian; and
yet more attracted by the charms of his daughter
Nicolasa, whose hand he asked and obtained from
her father. Jacopo Bellini was of opinion that he
EARLY ITALIAN PAINTERS.
talent; but it appears that he painted little, em-
ployed his scholars to execute what works were
confided to him, and gave himself up to the business
of instruction. '
Andrea Mantegna was only known in the
academy of Squarcione as a poor boy, whose talent
and docility rendered him a favourite with his
master. He worked early and late, copying with
assiduity the models which were set before him,
drawing from the fragments of statues, the busts,
the bas-reliefs, ornaments, and vases with which
Squarcione had enriched his academy. At the age
of nineteen Andrea painted his first great picture,
in which he represented the four evangelists; his
imagination and his pencil familiarized only with
the forms of classical art, he gave to these sacred
personages the air and attitude of heathen philo-
sophers, but they excited nevertheless great ap-
plause.
At this time the Venetian Jacopo Bellini,
father of the two great Bellini, of whom we shall
have to speak presently, arrived in Padua, where
he was employed to paint some pictures. He was
considered as the rival of Squarcione, both as a
painter and teacher. Andrea was captivated by
the talents and conversation of the Venetian; and
yet more attracted by the charms of his daughter
Nicolasa, whose hand he asked and obtained from
her father. Jacopo Bellini was of opinion that he