Francesco was at that time at Perugia, whither he had gone to meet Pope Julius II., and had little time or thought for the great painter who had just passed away. Isabella scarcely troubled herself more, and in a letter full of joyous congratulations to her husband on his entry into Perugia, merely alludes to Mantegna’s death:—“You know Messer Andrea died suddenly a few days after your departure.” There were others who felt more deeply and judged more rightly of the loss which the world had sustained in Mantegna’s death. Albrecht Durer was at that time in Venice, on his way to visit the great Lombard artist whose engravings had filled him with admiration, and from whom he had learnt perhaps more than from any other master. His purpose was frustrated by the news of Andrea’s sudden death, and in later years he was often heard to say that he looked upon this as the saddest event of his whole life. Another graceful tribute to Mantegna’s memory was paid by a certain Lorenzo di Pavia, a collector of antiquities and objects of art, who had known Mantegna at the court of Mantua, and who, on hearing of his unexpected death, wrote to Isabella in these terms:—“I grieve deeply over the loss of our Messer Andrea Mantegna, for in truth a most excellent painter, another Apelles, I may say, is gone from us. But I believe that God will employ him elsewhere on some great and beautiful work. For my part, I know that I shall never see again so fine an artist and designer. Farewell.” The melancholy history of Mantegna’s difficulties did not end with his death, and his sons had a hard task to satisfy his creditors. One hundred ducats were still owing to the bishop and canons for the mortuary chapel, and Cardinal Gonzaga, Bishop of Mantua, laid an embargo on the contents of his studio. Francesco Mantegna had to obtain the permission of the Marquis to sell the pictures that still remained there, among which he names the “Triumph of Scipio,” which Cornaro had never received, the “St. Sebastian,” now at La Motta in Friuli, and the famous _Cristo in scurto_. By this means his debts were paid, and a settlement of his affairs concluded. Francesco Gonzaga seems to have behaved kindly, and both Andrea’s sons continued in his service, Lodovico as agent, while Francesco succeeded to his father’s place, and painted by turns in the palaces of Mantua, Gonzaga, and Marmirolo. The remains of the great master were buried in his own chapel of Sant’ Andrea, where half a century later his grandson placed a bronze bust, supposed to have been the work of the medallist Sperandio, and which, after being taken to Paris in 1797, has been restored to its place on Mantegna’s tomb. The chapel itself is bare and dingy, its walls are whitewashed, rubbish heaps are allowed to litter the floor, and the general aspect is of the most cheerless description. But the gloomy surroundings only serve to heighten the imposing grandeur of the bust.