DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0410
388
MANTEGNA.
were more precious to him than anything else, and from the day th„<
Isabella bought his bust of Faustina, he was broken-hearted. His
great wish in his last days was to see the Marquis, but he was absent
at Perugia, and so the master died in the midst of his troubles, sep-
arated from both his son and his patron. There are letters from his
children begging Francesco to allow the sale of his works, especially
in order to satisfy the Bishop of Mantua for the chapel which Man-
tegna had undertaken to arrange and adorn for a burial-place for
CHRIST MOURNED BY ANGELS. BY MANTEGNA.
Berlin Mus.
himself and family. Mantegna was doubtless the greatest painter of
Northern Italy in his day, and his influence was felt in all Italy.
His works are full of meaning; his inventive powers were large; his
foreshortening, perspective, chiaro-scuro, and color were excellent,
and the one great objection, before mentioned, that his figures were
portrait-like, must be excused by the consideration that such a man-
ner as his was a legitimate step in advance, from the art which had
preceded to that which followed him. The Madonna, in the Louvre,
and the works at S. Zeno, Verona, already mentioned, are among
MANTEGNA.
were more precious to him than anything else, and from the day th„<
Isabella bought his bust of Faustina, he was broken-hearted. His
great wish in his last days was to see the Marquis, but he was absent
at Perugia, and so the master died in the midst of his troubles, sep-
arated from both his son and his patron. There are letters from his
children begging Francesco to allow the sale of his works, especially
in order to satisfy the Bishop of Mantua for the chapel which Man-
tegna had undertaken to arrange and adorn for a burial-place for
CHRIST MOURNED BY ANGELS. BY MANTEGNA.
Berlin Mus.
himself and family. Mantegna was doubtless the greatest painter of
Northern Italy in his day, and his influence was felt in all Italy.
His works are full of meaning; his inventive powers were large; his
foreshortening, perspective, chiaro-scuro, and color were excellent,
and the one great objection, before mentioned, that his figures were
portrait-like, must be excused by the consideration that such a man-
ner as his was a legitimate step in advance, from the art which had
preceded to that which followed him. The Madonna, in the Louvre,
and the works at S. Zeno, Verona, already mentioned, are among