recalls every detail and renders the furrows and wrinkles of old age, the ragged coat or torn shoe, with an accuracy that is almost painful. The eagerness with which he sought difficulties and his courage in grappling with them meet us again in the foreshortened rider who looks on at the Saint’s martyrdom, and is still more triumphant in the bold action of the men who drag away the dead body of the giant Christopher, in itself a masterpiece of perspective which served as a model for Titian and other Venetians in dealing with similar subjects in future years. Unfortunately these two last frescoes, “The Martyrdom” and “Burial of St. Christopher,” are much injured, and some of the chief figures are completely obliterated. The portions that remain justify the praises of former critics who pronounced these to be the finest of the whole series. Here at least Squarcione’s reproach is refuted, the stony look of the faces has given place to warm flesh-tones and softer modelling, and the band of archers assembled under the vine-trellis in the scene where the saint is to meet his doom are remarkable for their energetic action and expressive faces. According to Yasari, in this last subject, Mantegna represented Squarcione himself in the character of a fat archer, as a proof that he knew how to draw from living models, and the same writer mentions several other contemporary personages whose portraits are also introduced. Especially interesting in our eyes is the group, in the right-hand corner of “The Martyrdom,” of an elderly man standing between two younger figures, one of whom wears a red cap. The Venetian costume of these three spectators, and a certain resemblance of one of the youthful heads to a medal bearing the likeness of Gentile Bellini, go far to confirm the truth of Crowe and Cavalcaselle’s supposition that here we have portraits of Mantegna’s father and brothers-in-law, who were all in Padua at the time, and whom he would very naturally introduce among his other friends. With these frescoes Andrea’s labours in the church of the Eremitani end, and the decoration of the chapel, with which Squarcione’s pupils had been intrusted some ten years before, was finally completed.