Unfortunately, the different parts of the predella that belonged to this beautiful altar-piece are scattered in different galleries, the “Gethsemane” and “Ascension” are at Tours, the “Crucifixion,” in the dramatic action of its varied group by far the finest of the three, is in the Louvre. According to Vasari, Mantegna painted several other pictures in Verona, but the only other traces of his work now remaining in that city are some equestrian figures and chiaroscuro decorations on the façade of a house near San Fermo Maggiore, and we have no proof of his ever having resided there. The “little piece” which Andrea executed for Giacomo Marcello, Podestà of Padua, has been identified in the “Christ on the Mount of Olives” of the Baring collection, a work in which we feel the same union of plastic tendency of form and strong realism that strikes us in the frescoes. In the background, a wild and savage landscape, the desolate aspect of which is heightened by the presence of cranes and birds of prey, we recognise the city of Padua with the Eremitani Church. If we compare this picture with the well-known rendering of the same subject by Giovanni Bellini in the National Gallery, we shall see how much of the original conception and drawing the Venetian artist borrowed from his brother-in-law, and at the same time how well he knew how to modify Andrea’s severer style by his own more delicate grace and feeling for colour. These altar-pieces were Mantegna’s last works in his native city. The patience of the Marquis was at length rewarded, and towards the close of the year 1459, Andrea moved to Mantua with his family. Soon afterwards Jacopo Bellini died, his sons moved to Venice, and the Paduan school of painting, left in the hands of inferior followers of Squarcione, came to a practical end. But Paduan art lived on in the work of her greatest son, and the new influences and surroundings of Mantegna’s adopted city gave fresh impulse to his creative energy. That he settled at Mantua before the end of 1459 is proved by a letter of his written to the Marquis in May, 1478, in which he speaks of having been almost nineteen years in Lodovico’s service, but it is not till the spring of 1463 that we hear of him as engaged in painting at Goïto, one of the summer villas belonging to the Gonzagas. Both this palace and the neighbouring Castle of Cavriana, where he also painted, have been destroyed, and a few panel pictures now dispersed throughout Europe are the only productions that remain of his first ten years’ residence at the Court of Mantua. Chief among these is the Uffizi triptych, which originally belonged to a chapel of the Gonzagas, and may be the very picture to which Andrea alludes in a letter of 1464 as destined for the little chapel, and which Vasari tells us contained many small but most beautiful figures.