Mantegna lived on, none too well treated by the younger Gonzagas, until 1506. To relieve his poverty he offered for sale his most treasured marble, an Agrippina. He left in his studio his most rigid and painful piece,—the Foreshortened Christ he called it. All his probity is in the picture. For Giovanni Bellini and others it served as the highest model of the tragic style, and it refutes the shallow views of such as find Mantegna merely academic and cold. He left many engravings and marvellous drawings in which perhaps better than in the paintings we may feel the exquisiteness of his austerely fastidious taste. Such a drawing as the Judith in the Uffizi, Figure 225, is an epitome of all that Mantegna had to bequeath to the Renaissance. Well his contemporaries knew the value of his example. It rebuked the slackness of their own practice. Alongside the exquisitely modelled foot of his St. Sebastian in the Louvre, stands the severed marble foot from a Greek statue. As he ever measured his work against the antique, so the painters of Milan, Vicenza, Ferrara, Verona and Venice had to measure their work against his. And that simple act of honest comparison in a single generation furthered the art of Northern Italy to a degree that in Tuscany it had taken a century to attain. [Illustration: FIG. 225. Andrea Mantegna. Judith. Wash Drawing.—_Uffizi._ ] [Illustration: FIG. 226.—Antonello da Messina. The Condottiere.—_Louvre._ ] [Illustration: FIG. 227. Antonello da Messina. St. Jerome in his Study.—_London._ ]