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We may pass them over. A second version of the Mater Amabilis, representing the Virgin and Child full-length, but without accessories, has been also very beautifully treated. Andrea Mantegna, though a fantastic painter, had generally some meaning in his fancies.
It is impossible to conjecture what course the genius of this younger generation would have taken without his guidance, but when we consider that in 1500 Bellini was seventy years old, and had stored within his mind the experience of his early association with his brother-in-law Andrea Mantegna in Padua, the introduction of the use of oil paints by Antonello da Messina in 1475, since which date he had sedulously developed the new practice; when we also take into account the dignity and gravity of his own works, and the indication they afford of the man himself, it is not difficult to judge how much his pupils and successors owed to him.
And taking me by the arm, he prepared to lead me to each of the pre-eminent works in turn and show me the cream of the gallery. But before we left the Mantegna he pressed my arm and gave it a loving look. "He was not in a hurry," he murmured.
They were Chaine's three masterpieces, which now followed him from fair to fair, from one end of Paris to the other. The 'Woman taken in Adultery' in the centre, the copy of the Mantegna on the left, and Mahoudeau's stove on the right.
It was now his object to render his capital no less illustrious by art than by the residence of learned men. With this view he offered Mantegna a salary of fifteen ducats a month, together with lodging, corn, and fuel provided the painter would place his talents at his service.
And so, like his great contemporary Mantegna in far-off Lombardy, Domenico turned that eager curiosity with which he had previously sought for the secret of flayed limbs and fleshless skeletons, to studying the mystery of proportion and beauty which was hidden, more subtly and hopelessly, in the broken marbles of the Pagans.
We cross to the L. wall, rich with examples of Raphael, and of his school; and turn first to a lovely little panel, 1509, Apollo and Marsyas, of most enigmatical authorship, bought in 1883 from Mr. Morris Moore for 200,000 francs. Sold, in 1850, as a Mantegna, it has since been variously assigned to Raphael, Perugino, Timoteo Viti, and Francia.
And of a truth, if her corpse was actually exposed in the chapel of the Eremitani, as we have some right to assume, the spectacle must have been impressive. Those grim gaunt frescoes of Mantegna looked down on her as she lay stretched upon her bier, solemn and calm, and, but for pallor, beautiful as though in life.
She went down the long gallery, whose walls glowed with the new frescoes from the wonder-working brush of Andrea Mantegna; she crossed her ante-chamber and gained the very room where some hours ago she had received the insult of Gian Maria's odious advances. She passed through the now empty room, and stepped out on to the terrace that overlooked the paradise-like gardens of the Palace.
You continually encounter variations of Ingres, the sweet, serene line, the tapering feet and hands. Some critics have discerned the toe forms of Perugino; but such mechanical measurements strain our notion of eclecticism. Certainly Moreau studied Bellini, Mantegna, and Da Vinci without ever attaining the freedom and distinction of any of them.
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