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That Young Goldsmith, No. 207, which used to be given to Leonardo but is now Ridolfo Ghirlandaio's, is here; a Franciabigio, No. 43; a questioned Raphael, No. 44; a fine and sensitive head of one of the Gonzaga family by Mantegna, No. 375; the coarse head of Giovanni Bentivoglio by da Costa, No. 376; and a Pollaiuolo, No. 370, S. Jerome, whose fine rapt countenance is beautifully drawn.
None could be more deeply religious than he, none more tender, none more simple, none more happy. In manner he was equally diverse, and could paint like a Paduan, a Tuscan, a Fleming, a Venetian, and a modern Frenchman. I doubt if he ever was really great as we use the word of Leonardo, Titian, Tintoretto, Mantegna; but he was everything else. And he was Titian's master.
That faculty of taste was what Italy had acquired between the time of Cimabue and the time of Mantegna roughly speaking, between the year 1200 and the year 1450 between the first emancipation of art from the old Byzantine and Romanesque thraldom and the time when the new art had so overspread the country that engravings of the most famous pictures began to be sold in the streets in every important city in Italy.
His museum was so famous that in 1483 Lorenzo de' Medici, passing through Mantua from Venice, thought it worthy of a visit. In his old age Mantegna fell into pecuniary difficulties, and had to part with his collection. The forced sale of its chief ornament, a bust of Faustina, is said to have broken his heart. Ib. p. 415.
At any rate each of these, somehow and somewhere, set its own seal upon the reverent heart of Holbein at about this time. Whether through their original works or copies of them, already familiar to Augsburg as well as Lucerne, the lad sat humbly at the feet of both Leonardo and Mantegna.
That Rubens should have been so specially attracted by Mantegna may seem a little surprising, until we remember that both were lovers and students of classical antiquities a fact that is often forgotten in recalling only the principal achievements of either.
Hers was not the plain appealing of Olive's Greek statue-like beauty; it was rather the hectic erethism of painters and sculptors in a period preceding the apogee of an art. She was a statuette in biscuit after a design by Andrea Mantegna. But the traces of this exquisite atavism were now almost concealed in the supreme modernity of her attire.
At the age of seventeen he signed a picture with his name. Studying the casts and drawings collected by Squarcione for his Paduan school, the young Mantegna found congenial exercise for his peculiar gifts.
A similar tribute was given him, with conspicuous candour, by Andrea Mantegna, who became famous at Mantua by reducing painting to some severity of law a fame which he was the first to merit, by digging up broken and scattered statues, and setting them up as examples of art.
The fêtes passed off brilliantly, the crowds which assembled in the streets of Mantua were enormous, and the utmost enthusiasm was excited by the youth and loveliness of the bride. The only drawback was the absence of Mantegna, whom Pope Innocent had detained in Rome, in spite of his master's urgent request that the painter might return in time to arrange the wedding festivities.
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