Several other precious drawings by Mantegna belong the Christ Church collection, Oxford. Chief among them is the original composition for his celebrated engraving of the “Entombment,” and a fine example of another of his favourite subjects, “Hercules killing the Lion,” inscribed _Divo Herculi invicto_. Many more are in the hands of private collectors, and a whole volume containing twenty-six sheets of mythological subjects was exhibited in the Grosvenor Gallery in 1878, by Miss Hannah de Rothschild (now Lady Rosebery). Among the other drawings of remarkable merit now scattered over Europe, we will only mention the “Judgment of Solomon” in the Louvre, the “Sagrifizio,” which forms the chief ornament of the Verona Museum, and the well-known “Judith” of the Uffizi (see page 37), which once belonged to Vasari, and bears the date of February, 1491. It was not in the nature of Mantegna’s art to cast off a hasty sketch, or to leave to the world faces of rare loveliness drawn in a few pencil strokes as it were at random on the paper. Whether he was engaged on the cartoon of an altar-piece, or on a simple pattern of a cup or fountain, all he achieved was marked by the same patient, untiring labour, the same minute care, above all by the same feeling for beauty in every detail. Many of us remember that exquisite design for a chalice which attracted general attention in one of our last winter exhibitions. It is true the perspective of the Cup was faulty, but this defect was scarcely noticed in the beauty of the work, with which every part of the chalice was covered. Scenes from the life of Christ, cherub heads and elaborate scroll work adorned the border of the Cup. Apostles and prophets were figured on its base, while the stem was studded with rows of lovely babies and angel heads, executed with a grace and delicacy which rendered the whole a perfect marvel of decorative art. And so it is with his larger drawings, whether classical or religious in subject. Each hair in the head of his “Judith” is distinctly drawn, there is the same attention to form in the folds of her falling drapery, or, to take another instance—the fair faces of the youth and maiden in the procession of the _Sagrifizio_. Both are designs in the best spirit of classical art, and remind us of the finest Greek sculpture.