After painting the frescoes in the Church of the Eremitani at Padua, Andrea in 1457 executed a large and striking altarpiece for the Church of San Zeno in Verona. It was removed by Napoleon’s agents to France in 1797, but only the principal panel was returned to that church in 1815. The three predella panels were retained in France. The centre one of these, depicting the _Calvary_, is now in the Louvre (No. 1373); the other two, representing the _Agony in the Garden_ and the _Resurrection_, have long hung in the Museum at Tours. The severity of the statuesque figures and the certainty of the drawing seen in the _Calvary_ are characteristic of the early period of the master. Mantegna now removed to Mantua, where he entered the service of Lodovico II., Marquis of Mantua, as his Court Painter, remaining there for the rest of his life. The _Madonna of Victory_ (No. 1374) was painted to commemorate the victory gained at the Pass of Fornovo on the Taro on July 6, 1495, by Giovanni Francesco III., Marquis of Mantua, over Charles VIII. of France. In the centre of the picture the Madonna and Child are enthroned. On the left kneels the Marquis, and on the right is St. Elizabeth, the patron saint of Gonzaga’s wife, Isabella d’Este, “at the sound of whose name all the Muses rise and do reverence.” St. Michael standing behind the Duke, and St. George behind St. Elizabeth, hold the robe of the Madonna, who is thus represented as taking under her protection the two principal figures. In the background on the left is St. Andrew, name-saint of the painter and one of the patrons of Mantua. On the right is St. Longinus with the spear with which he pierced the side of Christ. His relics were preserved in the Church of St. Andrea in Mantua. The garlands of flowers and festoons of fruit are a well-known device in Mantegna’s pictures. Mantegna’s _Parnassus_ (No. 1375, Plate XIV.) illustrates the _amours_ of Mars and Venus, which were discovered by her husband, Vulcan. In the foreground the Muses are dancing. The group of the Muses was afterwards appropriated by Giulio Romano for his _Dance of Apollo and the Muses_ in the Pitti Palace at Florence. This painting was executed in 1497, just before the coming of the Renaissance feeling into Venetian art and the representation of classical myth. Notice the excellently drawn and highly characteristic shells and stones placed in the foreground. In the same year Mantegna painted the _Triumph of Wisdom and Virtue over the Vices_ (No. 1376), the last of the four pictures by him in this Gallery. In the corner to the extreme left is Virtus Deserta, who appears under the guise of a laurel tree with a woman’s head; about the stem is wound a scroll with inscriptions in Latin, Greek, and Hebrew. The Latin inscription reads: AGITE PELLITE SEDIBUS NOSTRIS FAEDA HAEC VICIORV̄ MONSTRA VIRTUTVM COELITVS AD NOS REDEV̄TIVM and on the inside of the scroll: