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Updated: June 11, 2025
These latter are undoubtedly from the hand of Domenico Neroni; and it was while discussing these delightful damsels seated with lutes and psalteries under vine-trellises, these scholars in cap and gown, weeping in quaint chambers with canopied beds and carnations growing on the window, these processions suggesting Mantegna's Triumph of Julius Cæsar of priests and priestesses with victories and trophies, that the painter from Volterra and the Apulian humanist would discuss the secret of antique beauty discuss it for hours, surrounded by the precious manuscripts and inscriptions, the fragments of sculpture, the Eastern rarities, of Filarete's little house on the Quirinal hill, or among the box-hedges, clipped cypresses, and fountains of his garden; while the riots and massacres, the fanatical processions and feudal wars, of mediæval Rome raged unnoticed below.
Judith, in Mantegna's print, puts the head of Holophernes into her bag with the serenity of a muse; and the head is quite clean, without loathsome drippings or torn depending strings of muscle; unconvulsed, a sort of plaster cast.
Douglas at first thought of going to her, if but for a moment; then decided that perhaps it would be best to let it be as she had so evidently chosen. In a few days they also left Venice, for Milan, stopping on the way for a day or two at Padua. They were to visit this city chiefly for the purpose of seeing Giotto's frescoes in the Arena Chapel, and Mantegna's in the Eremitani, although, as Mr.
This noble painting, possibly the last from his brush, was found in Mantegna's studio after his death. Notice the smoking candle-wick at the foot, and the motto which says that everything that is not of God is as smoke evanescent. A steamboat station for passengers going towards the Rialto is opposite the Ca' d'Oro calle.
"There is something links things for me, a sunset or so, a mood or so, the high air, something there was in Marion's form and colour, something I find and lose in Mantegna's pictures, something in the lines of these boats I make." There, evidently enough, is something that the artist, the poet even, wants.
In the Germanic Museum they fled to the Italian painters from the German pictures they had inspired; in the great hall of the Rathhaus the noble Processional of Durer was the more precious, because his Triumph of Maximilian somehow suggested Mantegna's Triumph of Caesar.
It is the mystical need, the desideratum, expressed in terms of this world's goods "Marion's form and colour," "Mantegna's pictures," the lines of a boat. If there is any solution here, let it be noted that it is essentially an individual, a personal solution, the artist's solution of the world-problem in terms of what is personally significant to individuals.
It is no less remarkable for its superb execution than for a softer treatment of the flesh than is usual in Mantegna's work. Two other pictures in the Louvre are, however, distinguished by similar qualities the Parnassus, painted in 1497, and the Triumph of Virtue. In this we see that Mantegna's antiquarianism was not simply a youthful phase, but lasted till the very end of his career.
Vasari, vol. v. p. 163, may be consulted with regard to Mantegna's preference for the ideal of statuary when compared with natural beauty, as the model for a painter. See Crowe and Cavalcaselle's History of Painting in North Italy, vol. i. p. 334, for an account of his antiquarian researches in company with Felice Feliciano.
Mantegna's "Madonna della Vittoria," in the Louvre, was painted to celebrate the deeds of Francesco Gonzaga in the battle of Fornovo. When he was ejected from Rome for making obscene pictures, Giulio Romano went to live at Mantua, and the city still bears the traces of his residence as well as of Mantegna's.
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