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It is a pet subject of the Salon. These men have vulgarised an epic, and smirched poetry and painting alike for the sake of a tawdry sensation. But enough: let us look at one more. Mantegna's is worth looking at. It is a pen drawing, often repeated, best known by the fine engraving he finally made of it. I think it Is the best murder picture in the world.
Only a few years after Mantegna's death, Albert Dürer, the great painter engraver of Nüremberg, appeared before the council of Venice to try and get a copyright for his engravings, which were being so cleverly forged by the famous Raimondi that the copies were sold in the Piazza of Saint Mark as originals.
Afterward they went to the Eremitani to see Mantegna's frescoes, and thought they could see in the noble work of this old Paduan master what Giotto might have done had he lived a century or more later. Mr.
His father is believed to have been a well-to-do tradesman, and the lad is said to have had an uncle a painter, who probably influenced his nephew. But Correggio had a greater master, though but for a very short time, in Andrea Mantegna, who died when Correggio was still a young boy. Mantegna's son kept on his father's school, and from him Correggio might have received more regular instruction.
No other painter has given to the soldier saints forms at once so heroic and so chivalrously tender. With regard to the circumstances of Mantegna's biography, it may be said briefly that, though of humble birth, he spent the greater portion of his life at Court and in the service of princes.
We need only compare Filippino's Scene before the Proconsul with his Raising of the King's Son in the Brancacci Chapel; the grand attitude and draperies of Ghirlandajo's Zachariah with the vulgar dress and movements of the Florentine citizens surrounding him; Benozzo Gozzoli's noble naked figure of Noah with his ungainly, hideously dressed figure of Cosimo de' Medici; Mantegna's exquisite Judith with his preposterous Marquis of Mantua; in short, all the purely realistic with all the purely idealistic painting of the fifteenth century.
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