he design, Andrea
answered, with somewhat audacious point, that he was trying to
represent _Patience_. The Pope, understanding the allusion, paid the
painter in his own coin, by remarking in reply, 'If you would place
Patience in fitting company, you would paint Discretion at her side.'
Andrea took the hint, said no more, and when his work was finished not
only received his money, but was munificently rewarded.

Andrea Mantegna had two sons and a daughter. One of his sons painted
with his father, and, after Andrea Mantegna's death, completed some of
his pictures.

Andrea Mantegna's early study of antique sculpture moulded his whole
life's work. He took great delight in modelling, in perspective, of
which he made himself a master, and in chiaroscuro, or light and shade.
Had his powers of invention and grace not kept pace with his skill, he
would have been a stiff and formal worker; as it was, he carried the
austerity of sculpture into painting, and his greatest work, the
'Triumph of Julius Caesar,' would have been better suited for the
chiselled frieze of a temple than it is for the painted frieze of the
hall of a palace. Yet he was a great leader and teacher in art, and the
true proportions of his drawing are grand, if his colouring is harsh. I
am happy to say that Mantegna's 'Triumph of Julius Caesar' is in England
at Hampton Court, having been bought from the Duke of Mantua by Charles
I. These cartoons, nine in number, are sketches in water-colour or
distemper on paper fixed on cloth. They are faded and dilapidated, as
they well may be, considering the slightness of the materials and their
age, about four hundred years. At the same time, they are, after the
cartoons of Raphael (which formed part of the same art collection of
Charles I.), perhaps the most valuable and interesting relic of art in
England.

The series of the 'Triumph' contain the different parts, originally
separated by pillars, of a long and splendid procession. There are
trumpeters and standard bearers, the statues of the gods borne aloft,
battering-rams and heaps of glittering armour, trophies of conquest in
huge vases filled with coin, garlanded oxen, and elephants. The second
last of the series, presents the ranks of captives forming part of the
show, rebellious men, submissive women, and unconscious children--a
moving picture. In the last of the series comes the great conqueror in
his chariot, a youth in the crowd following him, carrying his ban