In compositions of this type, studied after bas-reliefs and friezes, Mantegna displayed a power that was unique. Those who have once seen his drawings for Judith with the head of Holofernes, and for Solomon judging between the two mothers, will never forget their sculpture. The lines are graven on our memory. When this marble master chose to be tragic, his intensity was terrible. The designs for a dead Christ carried to the tomb among the weeping Maries, concentrate within the briefest space the utmost agony; it is as though the very ecstasy of grief had been congealed and fixed for ever. What, again, he could produce of purely beautiful within the region of religious art, is shown by his "Madonna of the Victory."[204] No other painter has given to the soldier saints forms at once so heroic and so chivalrously tender. With regard to the circumstances of Mantegna's biography, it may be said briefly that, though of humble birth, he spent the greater portion of his life at Court and in the service of princes. It was in 1456, after he had distinguished himself by the Paduan frescoes, that he first received an invitation from the Marquis Lodovico Gonzaga. Of this sovereign I have already had occasion to speak.[205] Reared by Vittorino da Feltre, to whom his father had committed almost unlimited authority, Lodovico had early learned to estimate the real advantages of culture. It was now his object to render his capital no less illustrious by art than by the residence of learned men. With this view he offered Mantegna a salary of fifteen ducats a month, together with lodging, corn, and fuel--provided the painter would place his talents at his service. Mantegna accepted the invitation; but numerous engagements prevented him from transferring his household from Padua to Mantua until the year 1460. From that date onwards to 1506, when he died, Mantegna remained attached to the Gonzaga family serving three Marquises in succession, and adorning their palaces, chapels, and country-seats with frescoes now, alas! almost entirely ruined. The grants of land and presents he received in addition to his salary, enabled him to build a villa at Buscoldo, where he resided during the summer, as well as to erect a sumptuous mansion in the capital.