The sculpturesque is characteristic of Mantegna's work. His people are hard, rigid at times, immovable human beings, not so much turned to stone as turned to bronze--the bronze of Donatello. There is little sense of motion about them. The figure is sharp and harsh, the drapery, evidently studied from sculpture, is "liney," and the archaeology is often more scientific than artistic. Mantegna was not, however, entirely devoted to the sculpturesque. He was one of the severest nature students of the Early Renaissance, knew about nature, and carried it out in more exacting detail than was perhaps well for his art. In addition he was a master of light-and-shade, understood composition, space, color, atmosphere, and was as scientific in perspective as Piero della Francesca. There is stiffness in his figures but nevertheless great truth and character. The forms are noble, even grand, and for invention and imagination they were never, in his time, carried further or higher. He was little of a sentimentalist or an emotionalist, not much of a brush man or a colorist, but as a draughtsman, a creator of noble forms, a man of power, he stood second to none in the century. Of Squarcione's other pupils Pizzolo (fl. 1470) was the most promising, but died early. Marco Zoppo (1440-1498) seems to have followed the Paduan formula of hardness, dryness, and exacting detail. He was possibly influenced by Cosimo Tura, and in turn influenced somewhat the Ferrara-Bolognese school. Mantegna, however, was the greatest of the school, and his influence was far-reaching. It affected the school of Venice in matters of drawing, beside influencing the Lombard and Veronese schools in their beginnings. SCHOOLS OF VERONA AND VICENZA: Artistically Verona belonged with the Venetian provinces, because it was largely an echo of Venice except at the very start. Vittore Pisano (1380-1456), called Pisanello, was the earliest painter of note, but he was not distinctly Veronese in his art. He was medallist and painter both, worked with Gentile da Fabriano in the Ducal Palace at Venice and elsewhere, and his art seems to have an affinity with that of his companion. Liberale da Verona (1451-1536?) was at first a miniaturist, but afterward developed a larger style based on a following of Mantegna's work, with some Venetian influences showing in the coloring and backgrounds. Francesco Bonsignori (1455-1519) was of the Verona school, but established himself later at Mantua and was under the Mantegna influence. His style at first was rather severe, but he afterward developed much ability in portraiture, historical work, animals, and architectural features. Francesco Caroto (1470-1546), a pupil of Liberale, really belongs to the next century--the High Renaissance--but his early works show his education in Veronese and Paduan methods. [Illustration: FIG. 34.--B. VIVARINI. MADONNA AND CHILD. TURIN.]