MANT. With Georfie D'Oyly (q.v.) he prepared the annotatetl edition of the Bible loiowii as D'Oyly and Mant's Bible (1814). which had an immense sale in Knglaiid, and was repul)lished in New York, with adilitions by Bishop Hnbart. He also published: The Book of Common Prnycr irith y'olrs (1S20), and a History of the Church of Jrtland from the Reformation to the Union of the Churches of England and Ireland in ISOl (1840). His poetical works include a version of the Psalms (1824), and Ancient Eymns from the Roman Breviary, vith Orifjinal IJymns ( 1837 ) . Consult the memoir by his son. Walter Bishop Mant (Dublin, 1857). MANTA, mlin'ta. A port of entry of Ecuador, situated on the Pacific Coast, 150 miles west- southwest of Quito (Map: Ecuador, A 4). Its hai'bor is deep enousrh for large vessels. The town exports straw hats, rubber, and coffee, and is the seat of a United States consular agent. It is the ]iort of ilonticristi, 10 miles inland. It was founded in 1.535. MANTA (Sp., blanket). A name about Pan- ama of the huge ray {ilanta birostris) , more fominonlj- known as 'devil-fi.sh' (q.v.) or 'sea devil,' which is greatlj- dreaded by the pearl- fishers, '"whom it is said to devour after envelop- ing them in its vast wings," sometimes 20 feet across, as in a blanket. See Plate of Rats and Skate.s. MANTALINI, man'ta-le'ne. In Dickens's Nicholas Xicklehy, a fop given to mild forms of swearing. He is supported by the labor of his wife, a mantua-maker. MANTAEO, nian-tii'ru. A river in Peru. It is formed at a height of 13.000 feet above sea- level by the small headstreams of Lake Chin- -chaycocha, in the western part of the Province of Junin. Thence it flows southeast past the towns of Jauja and Huancayo into the Province of Huaneavelica, where it turns northeast, breaks through a deep gap in the eastern Cordil- leras, and joins the Apurimac to form the Ene. which joins the Quillabaniba to form the Uca- yalli. Its length is about 280 miles, and it is navigable a few miles above the junction. MANTCHTJKIA, man-choC'ri-a. See IMan- CIIVRIA. MANTEGAZZA, niUn'ta-ga'tsa, Paolo (1831 — ). An Italian ph^ysiologist and anthropologist, born at Jlonza. After studying medicine in the universities of Pisa and ililan he received his doctor's degree at Pavia ( 1854 ) . and then traveled extensively in Europe. India, and South America, where he practiced for a time in Paraguay and the Argentine Republic. In 1858 he returned to ^Nlilan. was appointed pliysician at the hospital in that city the following year, and became in 1800 professor of pathology at Pavia. In 1870 he was made professor of anthropology at the Istituto di Studii Superiori in Florence, and there he founded the lluseum of Antliropology and of Ethnology-, the first in Italy, as well as the Italian Anthropological Society, and a review. Arehivo per I'Aiitropoloi/ia e la Etnologiu. He was Deputy for Monza in the Italian Parliament from lH(i5 until lS7<i, when he was appointed to the Senate. His philosophical and medical works include: Elementi d'ir/iene (1875); Ipiene dell' amore (1877) : Fisioloqia del dolore (1880) : Fisioloqin del piacere (1881) ; Fisonomia e mimica (1883) ; Vol. Xill— 2. 11 MANTEGNA. Oli amori decjli uomini. fiaggio di una etnologia deir amore (188()); Le estasi umanc (1887): Fisiologia delta donna (1893); Fisiologia dell' amore (1890) ; L'aiiiio 3000 (1897) ; and L'amore (1898). He also pul)lished travel sketches and political treatises: Itio delta I'lata e Teneriffe (1877); Viagyio in Lajionia (1884); India ( 1884) ; Htudl milla etnologia dell' India ( 1886) ; and Iticordi d'un fantaccino al parlamento ital- iano (1890). MANTEGNA, min-ta'nya, Andkea (1431- 1500). An Italian painter and line-engraver of the early Renaissance, the chief master of the Paduan school. He was born at Vicenza, the son of a peasant named Biagio ( Blasius ) . After the death of his father, at the age of ten he was adopted by the painter Squareione, who.se apprentice and pupil he became. They dis- agreed repeatedly, and finally separated, upon the marriage of Andrea with the daugliter of .Jacopo Bellini, in 1453. Ijt is the tendency of the latest criticism to minimize the inlluence of Squareione upon Mantegna's art; nevertheless, it is certain that we find all the characteristics of Squarcione's school in it. He was also in- fluenced by the work of Donatello, Paolo Uccello, and Era Filippo Lippi at Padua, but there is no evidence in his works of the influence of his father-in-law. At the age of seventeen Mantegna was an independent master, practicing his art at Padua, where he remained until the end of 1459. The chief works of this early Paduan period are his seven mural paintings in the Chapel of Saints .James and Christopher, in the Church of the Eremitani, in which the entire progress of his art can be traced. Mantegna's paintings are far superior to those of the other pupils of Squareione in the chapel, and were as im- portant for Northern Italy as the Brancacci frescoes for Florence. Five are from the life of Saint .James, and twe from the life of Saint Christopher. His eai'liest work is a wall-paint- ing representing Saints Bernardinus and An- tonius (1452). above the main portal of San Antonio in Padua. Others are the altar-piece of San Giustiniano (1453), containing panels of saints in arched frames, the most prominent of whom is Saint Luke; "Saint Eufemia," in the Museum of Naples; the "Presentation of Christ in the Temple," and the portrait of Cardinal Luigi Scarampi. in the Berlin Museum. His "Pietri," in the Grera at Milan, is a remarkable piece of foreshortening, in which the reclining Saviour is represented with his feet toward the spectator. The altar-piece of Saint Zeno ( 1458- 59) has rich classical decoration of columns and garlands: in the centre is the Madonna, sur- rounded by angels and by a group of saints on either side. The predella contained a "Cruci- fixion" of infinite pathos, now in the Louvre, which was flanked by "Gethsemane" and the "Resurrection," at present in the Museum of Tours. In 1459, after repeated invitations from Lodo- vico Gonzaga. Marquis of Mantua. Mantegna removed to that city, where he resided for the remainder of his life. Although very independent anil sometimes irritable, he was treated with high honor and great consideration by the Mar- quis and his successor, Francesco II., under whose patronage he continued imtil his death. In 148.'? Lorenzo de' Medici visited him, and in
