The style of Andrea greatly influenced that of his age, and imitations of it are to be seen even beyond his school, which was extremely flourishing in Mantua. We enumerate among his most distinguished disciples Francesco, and one of his other sons. There is a paper yet extant, in which they undertake to complete the chamber of the castle just alluded to, of which their father Andrea had only painted the walls. To these they added the beautiful vaulted recess. Whoever examines it must confess that the science of foreshortening, originally attributed to Melozio, was here improved and nearly brought to perfection by Mantegna and his sons. In the same work appear several exquisitely drawn infantine figures, under different points of view, and admirably shortened, so as to lose nothing in comparison with those of Melozio, though his painting of Paradise, drawn for the church of SS. Apostoli, was afterwards cut down and placed in the grand Palazzo Quirinale. The same sons of Mantegna likewise added lateral pictures to an altar-piece of their father, in a family chapel they had, attached to the church of S. Andrea; and in the same place they raised a beautiful monument to his memory in 1517, which has been falsely supposed by some to be the year of his death, whereas it appears, from many authentic works, that he closed his days in 1505. After the death of Mantegna, Lorenzo Costa held the first rank, an artist of whom we shall treat more at length in the Bolognese School. He adorned the palace with various histories, and the churches with many of his pictures, continuing under Francesco to reside in the same place, and afterwards under Federigo, until beyond the year 1525, in which time he produced also his picture for his family chapel. There too, like Mantegna, he wished to have his remains deposited. Following his example, he established his family in Mantua, where some of his descendants will again appear at a more modern epoch. But the young Mantegni must be referred to this more ancient period, and along with them ought to be mentioned Carlo del Mantegna, who having studied some length of time under Andrea, and cultivated a complete acquaintance with his style, afterwards introduced it, as we shall shew, into Genoa. Carlo is supposed to have assisted in the labours of the palace and the chapel above mentioned, as well as in many others ascribed to the disciples of Mantegna, among which are two histories of the ark preserved in the monastery of S. Benedetto at Mantua, where Andrea's manner appears somewhat more amplified, though boasting less beautiful forms. But few certain productions of his followers can be fixed upon, their labours being confounded by connoisseurs, from their resemblance of their style and name to those of their master. And it has thus happened in an extremely interesting historical point; for Coreggio having studied, it appears, under Francesco Mantegna, was believed a