Coming up from the crypt to the choir, the great picture by Andrea Mantegna hanging behind the high altar claims a careful study. The painting is on wood, in a lovely Renaissance frame which harmonises well with the decorative architectural detail in the picture. It was originally in six compartments, three above and three below, but was carried off to Paris by Napoleon, whence it was returned without the predella, which remained in the Salon carré of the Louvre (the present one at S. Zeno is a copy). The Blessed Virgin sits enthroned in the centre, holding the Child in the tender reverential manner to be found in the Bellini school, and supported by angels and cherubs. A lovely festoon of fruit and foliage is carried through the upper three compartments, caught up with red tassels, while the accessories of carpet, drapery, and hangings are extremely rich and glowing. St Peter, St Roch, St Paul, St John, and St Augustine are on the left of the picture; on the right are St John the Baptist, St Gregory, St Lawrence, and St Benedict; all the figures possessed of dignity and individuality, and expressing by their action or their attitude the characteristic peculiar to each one of them. “The Virgin is in a classic portico,” says Mr Selwyn Brinton, “adorned with bas-reliefs, with festoons of fruit and coral. Eight robed child-angels of wonderful beauty play lutes, and sing beneath and beside her throne. She looks up, holding the beautiful Christ-child poised upright on her left hand; her expression and attitude seem full of quiet dignity. A masterpiece of his (Mantegna’s) earlier style.”[64] The picture unfortunately is hung so high it is not easy to see, but a good view can be gained by clambering up the steps at the back of the altar where one is more on a level with it.