DOI Page / Citation link:
https://doi.org/10.11588/diglit.51584#0160
156
EAKLY ITALIAN PAINTERS.
showing any sense of injury or discouragement, he
set to work with fresh ardour; he drew and studied
from nature, instead of confining himself to the an-
tique ; he imitated the fresher and livelier colouring
of his new relations, the Bellini; and his next pic-
ture, which represented a legend of St. Christopher,
was so superior to the last, that it silenced the open
cavilling of Squarcione, though it could not ex-
tinguish his animosity, perhaps rather added to it;
for Andrea had introduced among the numerous
figures in his fresco that of Squarcione himself, and
the likeness was by no means a flattering one.
Notwithstanding the admiration which these and
other works excited in his native city, the enmity
of his old master seems to have rendered Padua
intolerable as a residence. Andrea therefore went
to Verona, where he executed several frescoes and
some smaller pictures ; and being invited to Mantua
by Ludovico Gonzaga, he finally entered the service
of that prince. The native courtesy of Andrea’s
manners, as well as his acquired knowledge and his
ability in his profession, recommended him to his
new patron, who loaded him with honours and
favours.
Some years after he had taken up his residence
in Mantua, and had executed for the Marquis Lu-
dovico and his son and successor Frederigo several
works which yet remain, Andrea was invited to
Rome by Pope Innocent VIII., to paint for him a
EAKLY ITALIAN PAINTERS.
showing any sense of injury or discouragement, he
set to work with fresh ardour; he drew and studied
from nature, instead of confining himself to the an-
tique ; he imitated the fresher and livelier colouring
of his new relations, the Bellini; and his next pic-
ture, which represented a legend of St. Christopher,
was so superior to the last, that it silenced the open
cavilling of Squarcione, though it could not ex-
tinguish his animosity, perhaps rather added to it;
for Andrea had introduced among the numerous
figures in his fresco that of Squarcione himself, and
the likeness was by no means a flattering one.
Notwithstanding the admiration which these and
other works excited in his native city, the enmity
of his old master seems to have rendered Padua
intolerable as a residence. Andrea therefore went
to Verona, where he executed several frescoes and
some smaller pictures ; and being invited to Mantua
by Ludovico Gonzaga, he finally entered the service
of that prince. The native courtesy of Andrea’s
manners, as well as his acquired knowledge and his
ability in his profession, recommended him to his
new patron, who loaded him with honours and
favours.
Some years after he had taken up his residence
in Mantua, and had executed for the Marquis Lu-
dovico and his son and successor Frederigo several
works which yet remain, Andrea was invited to
Rome by Pope Innocent VIII., to paint for him a