Thus Francia shares with Perugino the praise of having combined the technical perfection of a later age with the Christian motives which had so largely influenced the first efforts of Italian art. But, unlike Perugino, the religious feeling which formed the secret of Francia’s inspiration remained fresh and strong within his breast to the end of his life, and was with him still a real and living power, when it had sunk into conventionalism and affectation in the later works of the Umbrian master, and was rapidly yielding to the growing influences of a worldly age in the creations of Raphael. Slowly but surely men’s thoughts and their ideals of life had undergone a complete change, and the art of Italy was entering on a new phase in which there was no longer room for the rapture of Fra Angelico’s faces, or the sweet gentleness of the Madonnas who haunted Francia’s dreams. “The old order changeth, yielding place to new, And God fulfils himself in many ways.” [Illustration] [Illustration] THE PRINCIPAL WORKS OF MANTEGNA. BERGAMO. _Lochis-Carrara Gallery._ Madonna and Child. Portrait of man in red dress (Francesco Gonzaga?). BERLIN. _Museum._ Portrait of an Ecclesiastic. (Matteo Bossi, Abbot of Fiesole.) Madonna and Child. (_Painted about 1464._) Presentation in the Temple. (_Painted about 1464._) COPENHAGEN. _Museum._ Man of Sorrow supported by Angels. (ANDREAS MANTINEA. _Painted about 1489._) DRESDEN. _Gallery._ Holy Family (_formerly in the possession of Sir Charles Eastlake_). FLORENCE. _Uffizi._ Madonna and Child, in a rocky landscape. (_Painted in 1488-90._) Adoration of the Magi; Presentation; and Ascension. (_A triptych, painted about 1464._) FRANKFORT. _Städel._ St. Mark (_doubtful_.) GLASGOW. _Hamilton Collection._ Woman carrying a basin. (_Painted about 1470._) Woman drinking. (_Painted about 1470._) HAMPTON COURT. The Triumphs of Julius Cæsar, 1492. (_Nine cartoons._) LA MOTTA. _Scarpa Collection._ St. Sebastian. LONDON. _National Gallery._ The Virgin and Child enthroned; St. John the Baptist and the Magdalen. _With the annexed signature (C.P.F. = Civis Patavinus fecit.)_ [Illustration: Andreas Mantinia C.P.F.] The Triumph of Scipio (_in monochrome: painted in 1505_). MADRID. _Museum._ Death of the Virgin (_formerly in the collection of Charles I.; painted about 1470_). MANTUA. _Castello_ [_frescoes in the Camera degli Sposi, 1470-74_]. Lodovico Gonzaga and Barbara of Brandenburg surrounded by their family and Court (_on the walls_). Lodovico meeting his son, Cardinal Francesco, on his return from Rome (_on the walls_). Scenes from the fables of Hercules, Orpheus, Apollo, &c.; Medallions of Cæsars, Cupids, and other figures (_in monochrome, on the ceiling_).