[Illustration: FIG. 28.--MANTEGNA. Jesus Christ, St. Andrew, and St. Longinus.] And yet the handling alone of such works as the "Entombment" and the "Triumph of Cæsar" bears witness to the talent of an engraver already more experienced than any of his Italian predecessors and more alive to the real resources of his art. The burin in Mantegna's hand displays a firmness that can no longer be called stiffness; and, while it hardly as yet can be said to imitate painting, competes in boldness and rapidity at least with the effect of chalk or the pen. Unlike the Florentine engravers, with their timid sparse strokes which scarcely served to mark the outlines, Mantegna works with masses of shadow produced by means of closer graining, and seeks to express, or at any rate to suggest, internal modelling, instead of contenting himself with the mere outlines of the body. In a word, Mantegna as an engraver never forgot his knowledge as a painter; and it is this, combined with the rare vigour of his imagination, which assures him the first place amongst the Italian masters before the time of Marc Antonio. [Illustration: FIG. 29.--MANTEGNA. From the Triumph of Julius Cæsar.] Mantegna had soon many imitators. Some of them, as Mocetto, Jacopo Francia, Nicoletto da Modena, and Jacopo de' Barbari, known as the Master of the Caduceus, though profiting by his example, did not push their docility so far as to sacrifice their own tastes and individual sentiment. Others, as Zoan Andrea and Giovanni Antonio da Brescia, whose work has been sometimes mistaken for that of Mantegna himself, set themselves not only to make his manner their own, but to imitate his engravings line for line. However strongly Mantegna's influence may have acted on the Italian engravers of the fifteenth century, or the early years of the sixteenth, it hardly seems to have extended beyond Lombardy, Venice, and the small neighbouring states. It was neither in Florence nor in Rome that the Paduan example principally excited the spirit of imitation. The works it gave rise to belong nearly all of them to artists formed under the master's very eyes, or in close proximity to his teachings, whether the manner of the leader of the school appeared in the efforts of pure copyists and imitators more or less adroit, or whether it appeared in a much modified condition in the works of more independent disciples. [Illustration: FIG. 30.--MOCETTO. Bacchus.]