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8
been painted in such a way that the fireplace and other architectural elements of the room are
incorporated into the composition. The scene with the family surrounding the ruler and his wife,
which is painted over the fireplace, appears to have the figures actually standing and seated upon
the mantelpiece, and the leather curtains which were part of the original hangings of the room are
echoed in the painted curtains that close off some scenes. In one fresco Francisco Gonzaga is
greeted by his father, the marquis, and by the bishop of Mantua, other dignitaries and some
charming children on his return from Rome, where he had been made a cardinal. The background is
not Mantua, but an ideal Italian city on a hill, the circular walls are seen in perspective. Outside
them can be seen Roman ruins and statues. The colouring was undoubtedly more brilliant before
certain portions peeled off in the course of time.
The centre of the ceiling is Mantegna's most astonishing perspective prank. We seem to be
looking up into a circular parapet as up through the mouth of a well, above which are sky and
clouds. Winged children clinging to the parapet are seen in sharp perspective from front and rear,
and across one end runs a pole, which if it rolled a bit, would allow a large tub of plants to fall on
our heads. Ladies-in-waiting, including one black servant, peer over the edge, smiling at our
discomfiture. With this odd beginning commences the long series of illusionistic ceiling and dome
paintings that continued for three centuries and spread from Italy throughout Europe.
In the long bas-relief-like painting the Introduction of the Cult of Cybele into Rome Mantegna
reveals his sculptural tendencies and grave attitude to classical antiquity. His figures take on the
rigidity of stone. The Madonna and Child with Magdalen and S. John the Baptist Mantegna painted
with a simulated marble framing. As through a window the observer meant to look at these statue-
like figures whose draperies fall into heavy folds.
Late in life Mantegna painted the Dead Christ on canvas and in scurto (extreme
foreshortening), intended not as a trick in this case but as a device to bring home to the observer the
personal meaning for him of Christ's sacrificial death. The weeping Mary and John are likely later
additions.
Mantegna was a printmaker. Seven engravings by his hand and many by his followers
established a graphic art tradition in the late fifteenth century in northern Italy.
Make sure you know how to pronounce the following words:
Mantegna [
]; Mantua [
]; marquis [
], burial
[
]; martyrdom [
]; montage [
]; castle [
]; Cybele [
]
NOTES
Saint James Led to Execution - "Шествие Святого Иакова на казнь"
Martyrdom of St James -"Мученичество Святого Иакова"
Burial of St. Christopher - Перемещение тела Святого Христофора"
Assumption - "Вознесение Марии"
Dead Christ - "Мертвый Христос"
Introduction of the Cult ofCybele into Rome - "Учреждение культа Кибелы в Риме"
Madonna and Child with Magdalen and S. John the Baptist
-"Мадонна с Младенцем,
Магдалиной и Святым Иоанном Крестителем "
Crucifixion - "Распятие"
TASKS
I. Read the text. Mark the following statements true or false.
1. In 1454 Mantegna alone began a series of frescoes.
2. In 1944 all Mantegna's frescoes were destroyed.
3. Mantegna initiated illusionistic ceiling paintings.
4. A simulated marble framing is Masaccio's innovation.
5. The Crucifixion is a long bas-relief-like picture.
6. Mantegna painted the Dead Christ on panel.
II. How well have you read? Can you answer the questions?
1. Where did Mantegna paint a series of frescoes in 1454? What frescoes survived? What does
the photo-montage show?