MABTEOMA 61
b dated 1734; Manai's publicatian was re-edited at Florence in 1S58) ; iu 1755, the works of JEneaa Silvius Piccolomini (Pius 11); in 1758, the "TheoloBi» mora- lig" of AnadetuB ReiSenstuel, with an epitome pub- lished separately; in 1760, the "TheoloKia moralia" of Laynmnn; in 1761, the " Miscellanea of Baluze; in 1762, the "Hiatoria eccleaiaatica" of P^re Am&t de Gravesou; lastly, in 1765, the "Memoric della gran Contessa Matilde" (Fiorcntini).
The best-know (publication of Mansi ie his vast— too vast, indeed — edition of the Councils, " Sacrorum Con- eiliorum nova et amplisKima coUectio" (31 vols., folio, Florence and Venice, 175S-98), which waa stopped by lack of resources iii the middle of the Council ol Flor- ence of 1438. The absence of an index renders it in- con venieut, and in a critical point of view it leaves an
a MAimEaHA
father, who, although the ftmnder of the PiidaBn school of painting, possessed but medioore ability. Mantegna'a earliest known work, a "Hadotma m Glory , was painted when he was seventeen for the
church of S. Sofia at Padua. This picture is no longer in existenoe, but to judge from his next dated wotfc, a fresco (1452) in the church of the Santo, Padua, this first achievement must have exhibited almost incredi- ble maturity of talent. In 1454 he was employed in the church of S. Giustina, Padua, where be painted the Ancona, which is now in the Brera, at Mil&n. Squarcione had been commissioned by uie Ovetari family to decorate the Church of the Eremitani, Padua, and he had deputed s portion of the task to Mantegna. By these frescoes, which attest a steady development in his manner, he is doubtless best known. The
Accademlk Rede. Venic*
immensity to be desired. Mansi saw only fourteen
volumes of it published, the others were finished from
hlB notes. In 1748 the savant began to publish the
first volume of a collection which waa presented as a
supplement to that of Coleti; the sixth and last volume
of It appeared in 1752. This supplement contains, to-
Eetlier with various dissertations, many recently pub-
Fishcd documents, and many unpublished, which wer«
lacking in the previous collections — 330 letters of
popes, 200 new councils, mention of 380 otihers— be-
sides notj?s. The success of this publication induced
Mansi to undertake a recasting of Coleti, with his sup-
plement, adding to it documents discovered since his
time. Such was the origin of the "Amplissima".
The Paris publishing-house of Welter undertook, in
1900, a hefioeravure reproduction of it with a con-
tinuation and supplement bv the AbbC J. B. Martin.
TKAHcoiCBim, Biognipliical Notice of Mmn. prefixed to tbe
Amplittima. XLX; Pacchius, J. D. Mann I'iia. prefilfU to
Foiricim, Bitlinlhrra lalina (Florence, IS5H1; Ql-kntih. /. D.
Uanri rf Irt oramJfi eollfcliem tmnlmirm (Paris, 1900);
Hepels, Hi"(mV«JfiConn7M, KnewFr. tr., Purw, 1W)7), 110.
A. BouDiNuoN.
HaDtagna, An-drea, Italian painter; b. according t« some authorities, at Vicenza, according to others at Padua, in 1431; d. at Mantua, 13 September, 1506. Little-, is known of Ws origin save that he came of honourable parentage and wusadoptedatanearij'age \n' Francesco Squarcione who reared him as his son. Everything tends to show that his artistic education began very early, for he was at work upon master- pieces at an age when most artists are still under tuition. Heowedlittleof what heknew tohisfosfe^-
Erobable dates are 1448-55 and the frescoes due to
im are; on the left wall, " Baptism of Hermogenes",
"St, James before Caisar", "St. James led to execu-
tion", and "The Martjrdom of St. James"; on tits
right wall, "The Martyrdom of St. Chr7stopher", and
"The Removal of his Body". These works estab-
lished his fame as the foremost painter of the Paduaii
school, and among those who recognised and ap-
S lauded his genius was Jacopo Bellini, whose dau^ter, icolosia, Mantegna married in 1454. This brougiit about a rupture with Squarcione which was final.
At the height of his fame he painted the portrait of Cardinal Scarampi (1459), the altar-piece of the Church of San Zeno, Venice, and the "Agony in the Garden". In 1457 Lodovico GonzaRa, Marquess of Mantua, invited Mantegna to enter his service, but it was two years before the successful artist could be per- suaded to accept. In 1459 he went to Mantua, and here, save for the inter\ai of his stay in Home, whither he went at the request of Innocent VIII todecorate the new chapel in the Vatican, he spent the remainder of his life. He was held in great honour but treated with only spasmodic liberality, his salary being irregularly paid. Lodovico was succeeded in 1478 by his son Federigo, who died in 14K4, and Francesco Goniaga succeeded him at the age of eighteen. Francesco was betrothed to the beautiful and accomplished Isabella d'S^te, one of the women whose appreciation and encouragement of art; and letters did so much to make the Renaissance what it was. In 1 486 Mantegna was ordered by Goniaga to paint a Madonna for Isabella's mother, the Duchess of Ferrara, to do which he inter- rupted a seriesof paintings. " The Triumph of Ctesar",
