Although the honour of having given birth to Mantegna can no longer, as formerly, be denied to Padua, his school was, nevertheless, established in Mantua, where, under the auspices of Marchese Lodovico Gonzaga, he settled with his family, without, however, ceasing to exert his talents elsewhere, and more particularly in Rome. The chapel which he painted at the desire of Innocent VIII. in the Vatican still exists, though injured by time; and it is clear that in the imitation of the antique constantly pursued by him he greatly improved, through the number of examples to be found throughout the city. He never varied his manner, which I described when I treated of him as a pupil of Squarcione in Padua; but he still continued to perfect it. Several works produced during his latter years are yet extant at Mantua; and far surpassing the rest is his picture of Victory, painted upon canvass. Another is the Virgin, amidst various saints, among whom S. Michele the Archangel, and S. Maurizio, are seen holding her mantle, which is stretched over Francesco Gonzaga; he is in a kneeling posture, while the Virgin extends her hand over him in sign of protection: more in the background appear the two patrons of the city, S. Andrea and S. Longino, and the infant St. John before the throne, with S. Anna, as is supposed at least by Vasari and Ridolfi, little exact in their description of this picture, inasmuch as the rosary held in her hand distinguishes her for the princess, consort of the Marchese, kneeling at her husband's side. Mantua, perhaps, boasts no other specimen equally sought after and admired by strangers; and though produced in 1495, it is still free, in a conspicuous degree, from the effects of three ages, which it has already survived. It is truly wonderful to behold carnations so delicate, coats of armour so glittering, draperies so finely varied, with ornamental fruits still so fresh and dewy to the eye. Each separate head might serve as a school, from its fine character and vivacity, and not a few from imitation of the antique; while the design, as well in its naked as in its clothed parts, expresses a softness which sufficiently repels the too general opinion, that the stiff style and that of Mantegna are much the same thing. There is also an union of colours, a delicacy of hand, and a peculiar grace, that to me appears almost the last stage of the art towards that perfection which it acquired from Lionardo. His works upon canvass remind us of that exquisite taste to which he had been habituated by Squarcione, who supplied him with pictures of the same kind from various places, and indeed the whole of the above specimen discovers him to have been an artist who spared neither his colours nor his time, to produce works that might satisfy his own ideas, as well as the eye of the spectator.