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Updated: June 11, 2025
And when Cardinal d'Amboise expressed his admiration for Andrea Mantegna's art and told the marquis that in his opinion he was the first master in the world, Isabella hastened to promise him a picture by the great Paduan's hand. It was a sad time for the followers of Lodovico.
Opposite, above the south door, is a frieze of fighting Tritons horsed sea deities pounding one another with bunches of fish and splashing the water, in Mantegna's spirit.
It was long believed that Mantegna, in the end, forfeited the favour of his master by marrying Nicolosa Bellini, the sister of Gentile and Gian Bellini, whose father was the great rival of Squarcione; and farther, that Mantegna's style of painting had been considered Bellini.
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.
The date is supposed to be about 1450 and the source of Brother Antonio's inspiration must have been similar to that of the great Mantegna's. There are also the very delightful marble pictures in the chapel of the Giustiniani family to the left of the choir, the work of the Lombardi.
The April freshness of Giotto, the piety of Fra Angelico, the virginal purity of the young Raphael, the sweet gravity of John Bellini, the philosophic depth of Da Vinci, the sublime elevation of Michael Angelo, the suavity of Fra Bartolommeo, the delicacy of the Della Robbia, the restrained fervor of Rosellini, the rapture of the Sienese and the reverence of the Umbrian masters, Francia's pathos, Mantegna's dignity, and Luini's divine simplicity, were qualities which belonged not only to these artists but also to the people of Italy from whom they sprang.
She would have to dance then, if ever, or be cold indeed. The façade of the Ca' d'Oro is of course its greatest possession. Venice has nothing more satisfyingly ornate: richness without floridity. But let no one think to know all its beauty until he has penetrated to the little chapel and stood before Mantegna's S. Sebastian, that great simple work of art by an intellectual master.
In the last of the series comes the great conqueror in his chariot, a youth in the crowd following him, carrying his banner, on which is inscribed Cæsar's notable despatch, 'Veni, vidi, vici; 'I came, I saw, I conquered. Another of Mantegna's best pictures is in distemper in which, and on fresco, Mantegna chiefly painted, and is in the Louvre, Paris.
They are beautiful petrifactions, or vivified statues; Mantegna's masterpiece, the sepia "Judith" in Florence, is like an exquisite, pathetically lovely Eurydice, who has stepped unconscious and lifeless out of a Praxitelian bas-relief. And there are stranger works than even the Judith; strange statuesque fancies, like the fight of Marine Monsters and the Bacchanal among Mantegna's engravings.
To him, accustomed to hear all the occurrences of Nature, and all human concerns referred to astrological calculations, and conceiving the universe as governed by spirits in shape, perhaps, like the Primum Mobile, the Mercurius and Jupiter of Mantegna's playing cards, crowned with stars and poised upon globes it was as if the divining rod were turning pertinaciously to one spot in the earth, where, had he but the necessary tools, he must strike upon veins of the purest gold, or cause water to spirt high in the air.
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