We know that Caroto and Bonsignori assisted him in the execution of his later works, while his influence is even more apparent in the works of Liberale, Girolamo dai Libri, and Francesco Morone. The masterpiece of the last-named artist, the frescoes on the walls and ceiling of the sacristy of Santa Maria in Organo, at Verona, are indeed exact imitations of the style of decoration adopted by Mantegna in the Camera degli Sposi. We trace the same all-prevailing Mantegnesque in the works of Lorenzo Costa, who spent some years of his life in Mantua, and if we are to believe Vasari it is to the stimulus of Mantegna’s example that we owe the inspiration which made a painter of Francia. The link which binds Mantegna to the Umbrians is as yet uncertain, but even if Melozzo da Forli in his Roman frescoes derived no help or suggestion from Andrea, Giovanni Santi’s stanzas remain to show us how intimate was his acquaintance with the Paduan master’s works. If from contemporary art we pass to the culminating period of the Renaissance, we find Raphael taking him as his model in more than one instance. The likeness of the boy-angels of the Camera degli Sposi to the famous cherubs of the “Madonna di San Sisto” has been frequently remarked, and in the bearers of the dead Christ, who walk backwards in the Borghese “Entombment,” we find a distinct reminiscence of Andrea’s great engraving. Again, in the treatment of antique themes, Raphael often approaches Mantegna, and we have little doubt that both he and Leonardo had closely studied the works of their illustrious predecessor. Perhaps the actual connection between Mantegna and Michelangelo is less capable of demonstration, but the strength and energy of expression which were so remarkable features in the genius of both men, as well as a certain resemblance in their characters, form a link which binds them together. A very different artist, Correggio, who married a Mantuan wife, owes his knowledge of the laws of perspective and composition in a large measure to the study of Mantegna’s works, and, whether or not he visited Mantua himself, probably derived the first idea of the dome-painting for which he became famous from the ceiling of the Camera degli Sposi. But this is not all. The engravings of Mantegna spread his influence beyond the limits of Italy into countries north of the Alps. There was a robustness, vigour, and grave earnestness of purpose, as well as a fantastic element in his art, which attracted the Teutonic mind, and it is perhaps not too much to say that he influenced German art more than any other Italian painter.