DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22424#0044
30
THE BRITISH MUSEUM.
Letter I.
picturesque and realistic feeling in most of Mantegna's later works
may now without question be ascribed to his connection with Jacobo
Bellini. Various figures indeed occur—for instance, the archers in
the Martyrdom of St. Sebastian, p. 11, and in another representa-
tion of the same subject—in which we plainly recognise Mantegna's
models; while the conception of several single heads displays the
strongest resemblance to the series of pen drawings by Mantegna,
formerly in the possession of Mr. Samuel Woodburn, and now in
that of Mr. Barker.
Scenes from the most various departments of common life are
conceived with great truth and animation. I may mention espe-
cially a youth on horseback, and ladies also on horseback, one of
whom has a falcon on her hand, p. 20 ; a fight between a knight
and a lion, p. 22 ; a tournament, p. 36 ; milk-women, p. 34 ; and
two men carrying a tub. The representation of animals, horses
and lions, were evidently his favourite subjects; many studies of
each are here, and both animals are frequently very successful.
Upon the whole, I may observe that in subjects requiring lively
action he shows less aptitude ; thus, in representing a combat, the
thrusts are lame, and do not reach their mark. But in quiet figures,
on the other hand, he deserves especial admiration. This is the
case with St. Paul, p. 28—a sketch for an altarpiece, of three
figures—who is positively grand in design. Also, though figures
occur which are too meagre, we find equal examples of full
forms, though his proportions incline frequently to the over slender.
All things considered, he shows himself here as a very good
draughtsman. Unfortunately a large portion of these drawings
are very much rubbed, and others much obliterated.
Andrea Mantegna.—The Virgin fainting, and two other
women. A study executed with a broad pen for the group
in the well-known engraving of the Entombment. The head of
the Virgin is especially spirited; 9J in. high, 6f in. wide. Two
youths, one holding a club in the left hand, and looking at the
other, who has the left hand on his companion's shoulder, and a
sword in his right hand. Obviously a fragment, the figures being
cut off at the knees, and only the hilt of the sword seen. Of
masterly execution in the sloping lines peculiar to Mantegna, with
the brush and bistre, and showing the form of art he practised in
his later time. 9 in. high, 10 in. wide.
THE BRITISH MUSEUM.
Letter I.
picturesque and realistic feeling in most of Mantegna's later works
may now without question be ascribed to his connection with Jacobo
Bellini. Various figures indeed occur—for instance, the archers in
the Martyrdom of St. Sebastian, p. 11, and in another representa-
tion of the same subject—in which we plainly recognise Mantegna's
models; while the conception of several single heads displays the
strongest resemblance to the series of pen drawings by Mantegna,
formerly in the possession of Mr. Samuel Woodburn, and now in
that of Mr. Barker.
Scenes from the most various departments of common life are
conceived with great truth and animation. I may mention espe-
cially a youth on horseback, and ladies also on horseback, one of
whom has a falcon on her hand, p. 20 ; a fight between a knight
and a lion, p. 22 ; a tournament, p. 36 ; milk-women, p. 34 ; and
two men carrying a tub. The representation of animals, horses
and lions, were evidently his favourite subjects; many studies of
each are here, and both animals are frequently very successful.
Upon the whole, I may observe that in subjects requiring lively
action he shows less aptitude ; thus, in representing a combat, the
thrusts are lame, and do not reach their mark. But in quiet figures,
on the other hand, he deserves especial admiration. This is the
case with St. Paul, p. 28—a sketch for an altarpiece, of three
figures—who is positively grand in design. Also, though figures
occur which are too meagre, we find equal examples of full
forms, though his proportions incline frequently to the over slender.
All things considered, he shows himself here as a very good
draughtsman. Unfortunately a large portion of these drawings
are very much rubbed, and others much obliterated.
Andrea Mantegna.—The Virgin fainting, and two other
women. A study executed with a broad pen for the group
in the well-known engraving of the Entombment. The head of
the Virgin is especially spirited; 9J in. high, 6f in. wide. Two
youths, one holding a club in the left hand, and looking at the
other, who has the left hand on his companion's shoulder, and a
sword in his right hand. Obviously a fragment, the figures being
cut off at the knees, and only the hilt of the sword seen. Of
masterly execution in the sloping lines peculiar to Mantegna, with
the brush and bistre, and showing the form of art he practised in
his later time. 9 in. high, 10 in. wide.