MANTEGNA— MARATTA. 95 earliest engravers, his power of draw- ing being peculiarly available for this art. He engraved many of his own original designs, as the Triumph of Csesar, in three pieces, distinct from the cartoons at Hampton Court ; these, according to Vasari, are his best; the Entombment, marked Humani gene- ris Redemptori, is considered his best, by others. They amount in aU to about sixty pieces ; and some of them have a strong resemblance to the style of Marcantonio. Aiiosto has cele- brated the name of Mantgena with those of Leonardo da Vinci and Gio- vanni Bellini. His varieties of style are well illustrated in the following works. His earliest fresco at Padua, in the Eremitani Church, is of the rigid sculpturesque style : the Madonna della Vittoria, in the Louvre, is an example of his softened and improved manner; the Dancing Muses, also in the Louvre, illustrates the classical proportions, noble expression, the dignity of style, and the forcible colouring, which at times distinguished him. The Car- toons, at Hampton Court, are also of his grander and more animated man- ner ; and the Piet^ in the Brera, at Milan, is a good example of the know- le(^e of the principles of perspective, and his skill in foreshoi-tening. Man- tegna was painter, sculptor, poet, and architect. He was aided in some of his works by his second son, Fran- cesco, and by his favourite pupil, known as Carlo del Mantegna. Works. Mantua, in the Castello di Corte, a chamber in fresco (1474-84), called Stsmza di Mantegna, now Archi- vio de' Nodari. Padua, church degli Eremitani (1450) ; and in Sant' Anto- nio (1452), frescoes. Verona, church of San Zeno, altar-piece, a Madonna enthroned, with Angels and Saints. Rome, Vatican, the Pieta. Milan, Brera, San Luca (1453-4) ; a Piet^; and various Saints : Casa Trivulzi, the Madonna in Glory {tempera^ 1497). Naples, Studj, Sant' Euphemia with the Lion. Florence, Ufl&ag, an altar-piece of the Adoration of the Kings ; Virgin and Child ; and other works. Louvre, la Madonna della Vittoria (1495) ; the Dancing Muses ; Christ between the Thieves; and Virtue triumphing over Vice. Dresden Gallery, Annunziation {tempera^ 1450). BerUn Gallery, Ju- dith (1488); a Pieta; and six other subjects. England, Hampton Court, Cartoons of the Triumph of Csesar (1492). London, the Triumph of Cor- neUus Scipio (1505-6), in Mr. Vivian's Collection. ( Vasari, Brandolese, Qaye, Selvatico.) MANZUOLI, ToMMAso, called Maso DI San Friano, h. in that quarter of Florence, about 1536, d, 1575. Tuscan School. He studied under Pierfran- cesco di Jacopo, and Carlo Portelli, and is compared by Vasari with Bat- tista Naldini and Alessandro Allori. His pictures of the Nativity, in the ^ church of the Santi Apostoli ; and the Visitation, formerly in San Pietro Mag- giore, now, says Lanzi, in the Roman Collection of the Vatican, were con- sidered among the best productions of the Tuscan School of that period. Va- sari praises them for their invention, drawing, style, grace, and harmony of colouring. There is no such picture as the Visitation exhibited in the Vati- can at present. MARATTA, Cav. CAiiL0,called Carlo DELLE Madonne, h. at Camurano, near Ancona, 1625, d. at Rome, Dec. 15th, 1713. Roman School. He studied under Andrea Sacchi many years, and adopted the style of that painter, then the head of the opponents of the fol- lowers of Pietro da Cortona. Maratta devoted himself also to copying the works of Raphael. In 1702 he cleaned and restored with great care the cele- brated frescoes by Raphael in the Vati-
