Now, first, who and what was Mantegna, and what place does he fill in the history of art in Italy? Well, he was a Paduan painter, born in 1431, died in 1506—about the time when Raphael was painting the Belle Jardinière, in this collection. He was a contemporary and brother-in-law of Giovanni and Gentile Bellini: and if you compare his work with that of the two Bellinis, even as very inadequately represented here, you will see that their art has much in common—that they stood at about the same level of historical evolution, and painted in the same careful, precise, and accurate manner of the second half of the fifteenth century. Contrast them, on the one hand, with their immediate predecessors, such as Filippo Lippi and Benozzo Gozzoli (juniors by roughly about 20 years), in order to mark the advance they made on the art of those who went just before them; and compare them, on the other hand, with their immediate successors, such as Raphael, and even their more advanced contemporaries, like Leonardo, in order to see what place they fill in the development of painting.
Again, Mantegna was a pupil of Squarcione of Padua, who practically founded the Paduan school. Now Squarcione had travelled in Greece and formed a collection of antiques, from which his pupils made drawings and studies. Also Donatello (the great Florentine sculptor of the early Renaissance, of whose work you can find some beautiful examples in the Renaissance Sculpture rooms of this museum) had executed several bronzes in the church of Sant’ Antonio, the great local saint of Padua; and these likewise Mantegna studied; so that much of his work bears traces of the influence of sculpture and especially of bas-relief. He is particularly fond of introducing reliefs, festoons of fruit or flowers, and classical detail into the accessories of his pictures: and these peculiarities are well marked in the Mars and Venus, the Crucifixion, and the Madonna della Vittoria in this collection. Compare all these closely with one another till you think you have formed a fair idea of Mantegna’s powerful drawing, strong realism, love of the antique, solemnity and dignity, clear-cut style, and perfect mastery of anatomy and technique. Notice his delicate, careful, conscientious workmanship; the precision and perfection of his hands and feet; the joy with which he lingers over classical costume and the painting of armour. Everything is sharp and defined as in the air of Italy, yet never hard, or crude, or angular. Observe, also, the sculpture-like folds of his carefully arranged draperies, and his love for shot colours and melting tints on metal or marble. The St. Michael in this picture, and the Roman soldiers in the Crucifixion, are admirable examples of this tone in his colouring. If you wished to characterise Mantegna in a single phrase, however, you might fairly say he was the most sculpturesque of painters.
As to date, the Crucifixion (in the Salon Carré) which formed one piece only of the predella, or series of small pictures at the base of the great Madonna in the Church of San Zeno at Verona, is the earliest example of Mantegna’s work here. It displays the delicate and exquisite finish of his youthful period: but it is much more mediæval in tone—has far less freedom and conscious artistic power—than the Madonna della Vittoria, which belongs to the latest epoch of the great painter’s development. Observe the early severity of the figures in the Crucifixion, and the firmness of the drawing: each personage stands out with statuesque distinctness. But note, too, that at this early stage, Mantegna’s expression of emotion was still inadequate: in his striving to be powerful, he overdid the passions, sometimes almost to the verge of grotesqueness. On the other hand, do not overlook the dramatic force of the picture, as shewn, for example, in the vivid contrast between the anguish of the Madonna, with her attendant St. John, &c., and the callous carelessness of the soldiers casting lots for the Redeemer’s raiment. The Mars and Venus, once more, of his middle period, represents an intermediate stage between the two styles. What is meant by a predella, again, you can see by looking at Fra Angelico’s Coronation of the Virgin, and other similar pictures in this room—the little figures of St. Dominic and his miracles beneath the main altar-piece being examples of this adjunct. The Crucifixion formed the central picture of three such minor episodes: the Agony in the Garden and the Ascension, to right and left of it, are now in the Museum at Tours. Napoleon I had carried off the entire work from Verona: at the Restoration, the Madonna was returned to San Zeno, but the three pieces of the predella were retained in France and thus distributed. If you go to Tours or Verona, recollect the connection of the various fragments.
Next, what was the occasion for painting this Madonna della Vittoria? You will remember that in 1494, Charles VIII of France, invited by Ludovico Sforza, Duke of Milan, invaded North Italy, and conquered a large part of it, including Florence, Pisa, and Rome itself. Marching then on Naples, the boy king achieved a further success, which turned his own head and that of his army. (Read up all this episode in any good French history.) But Venice, trembling for her supremacy, formed a league against him; and soon after, all Italy, alarmed at his success, coalesced to repel the invader. The little Republics united their forces under Giovanni Francesco Gonzaga, Marquis of Mantua, and met Charles, on the 6th of July, 1495, at the pass of Fornova, on the Taro. The French king, it is true, forced his way through the hostile army, and made good his retreat: but the allies, though baffled, claimed the victory, and, as a matter of fact, Charles immediately concluded a treaty of peace and returned to Lyons. In commemoration of this event, the Marquis Gonzaga in gratitude erected a church at Mantua as a votive offering to the Madonna, and dedicated it under the name of Santa Maria della Vittoria.
At that time and for some years previously Mantegna had been in the service of the Gonzaga family at Mantua, where he lived for the greater part of his artistic life. In the Castello of that town, he executed several frescoes, illustrating domestic events in the history of the Gonzagas, which are still among the most interesting objects to be visited in Mantua. It was natural, therefore, that he should be invited by Giovanni Francesco Gonzaga to paint the altar-piece for the high altar of the church to commemorate this victory. The picture must have been finished about the year 1498 or 1500. It stood in the building for which it was painted till Napoleon I brought it from Italy to Paris, where it has ever since remained.
These circumstances sufficiently explain the collection of saints who figure in the picture. In the centre is the Madonna of Victory herself, to whom Gonzaga vowed the church in case he should be successful. She is enthroned, as usual. The garlands of flowers and fruit, and the coral over her head, are favourite accessories with Mantegna: they occur again in the (much earlier) Madonna at San Zeno, Verona, of which the Crucifixion here formed part of the predella. The figures of Adam and Eve, in imitation of relief, on the pedestal, are thoroughly characteristic of Mantegna’s style, and recall the Paduan school of Squarcione, and the master’s dependence on the work of Donatello. The overloading of the picture with flowers, festoons and architectural decoration is also a Paduan feature of the same school: it comes out equally in the works of Carlo Crivelli—not well seen in this collection. On his knees in the foreground is Gonzaga himself, with his villainous Italian Renaissance face, as of a man who would try to bribe Our Lady with presents. And indeed Our Lady stretches out her friendly hand towards him, as if to assure him of favour and victory. Notice that the Marquis wears his armour: he is giving thanks, as it were, on the field of battle.
As often with Mantegna, the minor characters and saints are fuller of life than the two central divine personages: his Madonnas have frequently a tendency to be insipid. On the left of the picture, flanking the Virgin, stands St. Michael the Archangel, the “warrior of God,” as representing the idea that the Lord of Hosts fought on the side of the Italian confederacy. This beautiful figure, clad in refulgent heavenly armour, is one of the noblest and loveliest that Mantegna ever painted. Compare it with the two St. Michaels by Raphael, the early one in the Long Gallery: the later in the Salon Carré: note the general similarity of type, with the divergence in treatment. A little behind, again, half seen, stands St. Andrew, who was both Andrea Mantegna’s own namesake, and also one of the patrons of Mantua. He has an important church dedicated in his honour in that town—a Renaissance church, by Leon Battista Alberti: and in this church of his patron, Mantegna himself is buried. For the altar-piece of this same church, which he had doubtless selected beforehand for his own last resting-place, the great artist also painted a representation of the risen Saviour, with St. Andrew holding the cross of his martyrdom on one side, and St. Longinus (of whom more shortly) with his spear on the other. Thus there was every reason both why St. Andrew should be represented in a picture painted for the Marquis of Mantua, and why he should more particularly appear in a work by Andrea Mantegna. As one of the patron saints of town and painter, he naturally had his share in the thanksgiving for the victory. His features in this picture and in the one at Mantua are closely similar. Mantegna, indeed, imitated an older type, which he made his own, and reproduced like a portrait. Note that St. Andrew bears a cross as his symbol.
On the other side of the Madonna, St. Elizabeth kneels in the foreground, representing, I think, the patron saint of the Marchesa, Gonzaga’s wife, who was Isabella d’Este, sister of Duke Alfonso of Ferrara. (Isabella and Elisabeth are always regarded as variants of the same name.) Now in the chapel of St. Longinus in the church of St. Andrea at Mantua, aforesaid, where Mantegna is buried, he also painted a Madonna, with this same St. Elizabeth, holding the infant St. John Baptist, while the child Christ blesses him: no doubt a votive offering from Isabella. Here again we have a type of St. Elizabeth repeated in this picture. Behind St. Elizabeth stands the exquisitely wistful St. George, the patron saint of the Venetian territory, representing the part borne by Venice and her dependencies in the war of expulsion: the patron receives the thanks of his faithful votaries. (Mrs. Jameson thinks this figure is St. Maurice, another military saint, and patron of Mantua: comparison with various St. Georges and St. Maurices elsewhere makes me disagree with her. Besides, St. George’s lance is often broken, as here: you can note it so in the Raphael of the Long Gallery.) In the background stands St. Longinus, a Roman soldier, distinguishable by his lance and antique helmet. According to tradition, Longinus was the centurion who pierced the side of Christ: you see him so in the famous Rubens (called the Coup de Lance) at Antwerp, and in almost every mediæval Crucifixion or Calvary. (Look out for him in future.) When he saw the wonders which accompanied the Passion, we are told in scripture that he exclaimed, “Truly this man was the Son of God.” Later legend made him be converted, after being afflicted with sudden blindness, and undergo a singular voluntary martyrdom. His relics were brought to Mantua in the 11th century, and he has ever since been the chief patron saint of that city. Mantegna painted him often, and sometimes made a type of him. In the picture already described in the chapel of St. Longinus, he answers, as here, to St. Andrew, and wears a classical costume, on which the painter has lavished his usual care and minute accuracy of drawing. Notice him also in the foreground of Mantegna’s Crucifixion in the Salon Carré, bearing his spear—where, however, the type is not followed as usual. Thus not one of the characters grouped around the Madonna in this exquisite picture is without its full relevancy and meaning.
Do not overlook in this military votive offering the preponderance of soldier saints, and their appearance under arms, to commemorate the victory.
Observe also the way in which St. George and St. Michael hold the Madonna’s mantle, so as to enclose or embrace Gonzaga and his wife’s patroness, St. Elizabeth. This is a symbol of the Madonna’s protection: in what is called a Madonna della Misericordia Our Lady’s robe thus shelters numerous votaries. So, at Cluny, you will find a sculptured St. Ursula (in Room VI) sheltering under her mantle as many of the 11,000 Virgins as the sculptor could manage—as she also does in the Memling at Bruges.