During the years that Andrea was employed on the Eremitani frescoes we hear little else of his private life excepting that he married Niccolosia Bellini, and became estranged from his old master Squarcione, while two panel pictures, the Brera Altar-piece which he painted in 1454 for Santa Giustina, and the “St. Euphemia” now at Naples, are the only other works that are left us of this period. In the former, a vigorous but not very pleasing work, St. Luke is represented writing at a table between four single figures of saints, while above we have a Pietà with the Virgin, St. John, and four other saints. Far more graceful in conception is the St. Euphemia standing in her garlanded niche with the lily in her hand and the lion beside her. This admirably drawn figure in attitude and form closely resembles an antique statue, and will bear comparison, with the best of the later frescoes. So far, Andrea’s works had been confined to Padua, but his fame had spread far beyond his native city, and before he had finished his labours in the Eremitani, pressing invitations to move to Mantua had reached him from Lodovico Gonzaga, Marquis of that principality. This prince, a generous patron of letters as well as a brave soldier and wise ruler, was anxious to make his court a centre of art and learning; and, having failed in his efforts to attract the aged Donatello, spared no pains to secure the services of the Paduan artist, whose rising genius was already eclipsing that of all others. As early as 1456 we find Lodovico entering into communication with Andrea, first by letter and then through the sculptor Luca Fancelli, a confidential agent of the Marquis. His offers were liberal; fifteen ducats a month, lodging, firewood, and sufficient wheat to feed the members of his family, who are reckoned as six in number; besides, he proposed to assist him on his journey to Mantua by sending a boat to meet him.