Mantegna, indeed, imitated an older type, which he made his own, and reproduced like a portrait. Note that St. Andrew bears a cross as his symbol. On the other side of the Madonna, =St. Elizabeth= kneels in the foreground, representing, I think, the patron saint of the Marchesa, Gonzaga’s wife, who was Isabella d’Este, sister of Duke Alfonso of Ferrara. (Isabella and Elisabeth are always regarded as variants of the same name.) Now in the chapel of St. Longinus in the church of St. Andrea at Mantua, aforesaid, where Mantegna is buried, he also painted a Madonna, with this same St. Elizabeth, holding the infant St. John Baptist, while the child Christ blesses him: no doubt a votive offering from Isabella. Here again we have a type of St. Elizabeth repeated in this picture. Behind St. Elizabeth stands the exquisitely wistful =St. George=, the patron saint of the Venetian territory, representing the part borne by Venice and her dependencies in the war of expulsion: the patron receives the thanks of his faithful votaries. (Mrs. Jameson thinks this figure is St. Maurice, another military saint, and patron of Mantua: comparison with various St. Georges and St. Maurices elsewhere makes me disagree with her. Besides, St. George’s lance is often broken, as here: you can note it so in the Raphael of the Long Gallery.) In the background stands =St. Longinus=, a Roman soldier, distinguishable by his lance and antique helmet. According to tradition, Longinus was the centurion who pierced the side of Christ: you see him so in the famous Rubens (called the Coup de Lance) at Antwerp, and in almost every mediæval Crucifixion or Calvary. (Look out for him in future.) When he saw the wonders which accompanied the Passion, we are told in scripture that he exclaimed, “Truly this man was the Son of God.” Later legend made him be converted, after being afflicted with sudden blindness, and undergo a singular voluntary martyrdom. His relics were brought to Mantua in the 11th century, and he has ever since been the chief patron saint of that city. Mantegna painted him often, and sometimes made a type of him. In the picture already described in the chapel of St. Longinus, he answers, as here, to St. Andrew, and wears a classical costume, on which the painter has lavished his usual care and minute accuracy of drawing. Notice him also in the foreground of Mantegna’s Crucifixion in the Salon Carré, bearing his spear—where, however, the type is not followed as usual. Thus not one of the characters grouped around the Madonna in this exquisite picture is without its full relevancy and meaning. Do not overlook in this military votive offering the preponderance of soldier saints, and their appearance under arms, to commemorate the victory.