theology, particularly for the education of Congregational ministers. The buildings consist of an open quadrangle with hall, common rooms, library lecture rooms, and chapel, and are very well designed in Gothic style.

MANSI, män'sê, GIOVANNI DOMENICO (1692. 1769). Roman Catholic Archbishop of Lucca. He was born at Lucca, February 16, 1692; taught theology many years at Naples; made literary journeys through Italy, France, and Germany; established an academy in Lucca over which he presided; was made Archbishop in 1765; and died in Lucca, September 27, 1769. He is best known as the editor of the great work on the Councils, Sacrorum Conciliorum Nova et Amplissima Collectio (31 vols., Florence, 1759 sqq.), which goes down to the middle of the fifteenth century. Consult his Life, by Zatta (Venice, 1772).

MANSILLA DE GARCIA, mån-sẽ lyả dâ gär-se'ȧ, EDUARDA (1838-). A South American author, born in Buenos Ayres. She married the Argentine diplomatist Manuel Garcia, in 1855. Her novels deal with Argentine subjects, and have some value from their descriptive qualities. They include: El médico de San Luis (1857), and the historical Lucia Miranda, and Pablo ó la vida en las pampas (1868), which was published in French at Paris.

MANSION HOUSE. The name given to the official residence of the Lord Mayor of London, situated opposite the Royal Exchange. In its great banqueting hall, known as the Egyptian Hall, are given the state banquets.

or

MANSLAUGHTER. The unlawful killing of another without malice, express or implied. It is this absence of malice which distinguishes the act from murder. Not infrequently persons are charged with this crime who are admittedly free from any moral blame. At common law, manslaughter is of two kinds, voluntary and involuntary. The former includes cases of intentional killing, upon sudden heat or passion due to provocation, which palliates the offense; as when the person killed grossly insults wrongs the slayer or quarrels with him. In voluntary manslaughter occurs when the killing is not intended, but results from the commission of an unlawful act which falls below the grade of felony (q.v.), or from the doing of a lawful act in an unlawful manner, as in cases of culpable negligence (q.v.). A railroad engineer, a trolley-car motorman, or a horse-car driver, whose negligent misconduct causes the death of a human being is guilty of manslaughter. By modern statutes the offense has been extended to every kind of homicide (q.v.) which on the one hand is not murder (q.v.), and on the other is not justifiable or excusable. It has also been divided into degrees-the first degree including cases marked by unusual cruelty, or by unlawful conduct of a grave character, such as a deliberate assault or the use of dangerous weapons, or administering drugs to procure miscarriage; while the second degree embraces culpable acts and omissions which are less blameworthy. The common law treated manslaughter as a felony, but within the benefit of clergy. Modern statutes in England punish the more serious forms by penal servitude for life, and the lighter forms by imprisonment or fine. In the United States manslaughter in the first degree is punishable

by imprisonment for a term generally varying from five to twenty years; in the second degree, by imprisonment for a shorter term, or by a fine of a limited amount, or by both fine and imprisonment. See CRIMINAL LAW (consult the authorities there cited); HOMICIDE; MURDER.

MANSO, män'sô, JOHANN KASPAR FRIEDRICH (1760-1826). A German philologian and historian, born at Blasienzell (Gotha).. He studied at Jena, and from 1790 until his death was rector of an academy at Breslau. His translations from the classics-Vergil's Georgics (1783); the Edipus Rex of Sophocles (1785)—were not successful, but the Geschichte des preussischen Staates bis zur zweiten Pariser Abkunft (3 vols., 181920), has more merit, and was much read in its time.

MAN'SON, GEORGE (1850-76). A Scotch water-color painter and engraver, born in Edinburgh. He at first worked as an engraver, and during this time and afterwards studied painting in the Edinburgh School of Art. In 1875 he took some lessons in etching from Cadart in Paris. His pictures are usually of homely rustic subjects, treated with much delicacy and beauty of color. They include "Milking Time," and "The Gypsy Well." As an engraver, Manson imitated the simple, direct methods of the Bewicks. ConHis Works (Edinburgh, 1880). sult the preface by Gray in George Manson and

on

MANSON, PATRICK. A distinguished English physician and parasitologist, and writer tropical diseases. He first became known by his investigations into the pathology of filarial diseases, and was one of the first to suggest the hypothesis that the mosquito is an active agent in the propagation of malaria. In 1897 he was made medical adviser to the British Colonial Offices. He has published many monographs on tropical diseases. His most important works are: The Goulstonian Lectures (1896), and Tropical Diseases (1898). See INSECTS, PROPAGATION

MANT, RICHARD (1776-1848). An Irish bishop. He was born at Southampton, England; was educated at Winchester School and Trinity College, Oxford, taking his bachelor's degree in 1797; was elected fellow of Oriel College in 1798; was ordained priest in 1803; and was curate and vicar of several parishes in and near London, 1804-20. He was made Bishop of Killaloe and Kilfenoragh, Ireland, in 1820, and in 1823 was transferred to the See of Down and Connor. In the House of Lords, Bishop Mant voted against Catholic Emancipation in 1821 and 1825. He was a member in 1830 of the Royal Commission to inquire into ecclesiastical union. He was a prolific writer of poetry, as well as of historical and theological works; and many of his hymns are included in different collections.

With George D'Oyly (q.v.) he prepared the annotated edition of the Bible known as D'Oyly and Mant's Bible (1814), which had an immense sale in England, and was republished in New York, with additions by Bishop Hobart. He also published: The Book of Common Prayer with Notes (1820), and a History of the Church of Ireland from the Reformation to the Union of the Churches of England and Ireland in 1801 (1840). His poetical works include a version of the Psalms (1824), and Ancient Hymns from the Roman Breviary, with Original Hymns (1837). Consult the memoir by his son, Walter Bishop Mant (Dublin, 1857).

MANTA, män'tå. A port of entry of Ecuador, situated on the Pacific Coast, 150 miles westsouthwest of Quito (Map: Ecuador, A 4). Its harbor is deep enough for large vessels. The town exports straw hats, rubber, and coffee, and is the seat of a United States consular agent. It is the port of Monticristi, 10 miles inland. It was founded in 1535.

MANTA (Sp., blanket). A name about Panama of the huge ray (Manta birostris), more commonly known as 'devil-fish' (q.v.) or 'sea devil,' which is greatly dreaded by the pearlfishers, "whom it is said to devour after enveloping them in its vast wings," sometimes 20 feet across, as in a blanket. See Plate of RAYS AND SKATES.

MANTALINI, mån'ta-le'’në. In Dickens's Nicholas Nickleby, a fop given to mild forms of swearing. He is supported by the labor of his wife, a mantua-maker.

of Junin.

Gli amori degli uomini. Saggio di una etnologia dell' amore (1886); Le estasi umane (1887); Fisiologia della donna (1893); Fisiologia dell' amore (1896); L'anno 3000 (1897); and L'amore (1898). He also published travel sketches and political treatises: Rio della Plata e Teneriffe (1877); Viaggio in Laponia (1884); India (1884); Studi sulla etnologia dell' India (1886); and Ricordi d'un fantaccino al parlamento italiano (1896).

(1431

MANTEGNA, mån-ta'nyȧ, ANDREA 1506). An Italian painter and line-engraver of the early Renaissance, the chief master of the Paduan school. He was born at Vicenza, the son of a peasant named Biagio (Blasius). After the death of his father, at the age of ten he was adopted by the painter Squarcione, whose apprentice and pupil he became. They disagreed repeatedly, and finally separated, upon the marriage of Andrea with the daughter of Jacopo Bellini, in 1453. It is the tendency of the latest criticism to minimize the influence of Squarcione upon Mantegna's art; nevertheless, it is certain that we find all the characteristics of Squarcione's school in it. He was also influenced by the work of Donatello, Paolo Uccello, and Fra Filippo Lippi at Padua, but there is no evidence in his works of the influence of his father-in-law. At the age of seventeen Mantegna was an independent master, practicing his art at Padua, where he remained until the end of 1459.

The chief works of this early Paduan period are his seven mural paintings in the Chapel of Saints James and Christopher, in the Church of the Eremitani, in which the entire progress of his art can be traced. Mantegna's paintings are far superior to those of the other pupils of Squarcione in the chapel, and were as imfrescoes for Florence. Five are from the life of portant for Northern Italy as the Brancacci Saint James, and two from the life of Saint Christopher. His earliest work is a wall-painting representing Saints Bernardinus and Antonius (1452), above the main portal of San Antonio in Padua. Others are the altar-piece of San Giustiniano (1453), containing panels of saints in arched frames, the most prominent of

CHURIA.

MANTEGAZZA, män'tâ-gä'tså, PAOLO (1831 -). An Italian physiologist and anthropologist, born at Monza. After studying medicine in the universities of Pisa and Milan he received his doctor's degree at Pavia (1854), and then traveled extensively in Europe, India, and South America, where he practiced for a time in Paraguay and the Argentine Republic. In 1858 he returned to Milan, was appointed physician at the hospital in that city the following year, and became in 1860 professor of pathology at Pavia. In 1870 he was made professor of anthropology at the Istituto di Studii Superiori in Florence, and there he founded the Museum of Anthropology and of Ethnology, the first in Italy, as well as the Italian Anthropological Society, and a review, Archivo per l'Antropologia e l' Etnologia. He was Deputy for Monza in the Italian Parliament from 1865 until 1876, when he was appointed to the Senate. His philosophical and medical works include: Elementi d'igiene (1875); Igiene dell' amore (1877) Fisiologia del dolore (1880); Fisiologia del piacere (1881); Fisonomia e mimica (1883);

VOL. XIII.-2.

Museum of Naples; the "Presentation of Christ in the Temple," and the portrait of Cardinal Luigi Scarampi, in the Berlin Museum. His "Pietà," in the Grera at Milan, is a remarkable piece of foreshortening, in which the reclining Saviour is represented with his feet toward the spectator. The altar-piece of Saint Zeno (145859) has rich classical decoration of columns and garlands; in the centre is the Madonna, surrounded by angels and by a group of saints on either side. The predella contained a "Crucifixion" of infinite pathos, now in the Louvre, which was flanked by "Gethsemane" and the "Resurrection," at present in the Museum of Tours.

In 1459, after repeated invitations from Lodovico Gonzaga, Marquis of Mantua, Mantegna removed to that city, where he resided for the remainder of his life. Although very independent and sometimes irritable, he was treated with high honor and great consideration by the Marquis and his successor, Francesco II., under whose patronage he continued until his death. In 1483 Lorenzo de' Medici visited him, and in

1488 Pope Innocent VIII. summoned him to Rome to decorate the Belvedere Chapel, now destroyed. In 1490 he returned to Mantua, where he died September 13, 1506. His last years were darkened by financial troubles, consequent upon his building a family chapel in the Church of Sant' Andrea.

His chief work at Mantua was the decoration of the Camera dei Sposi, in the Castello di Corte, finished in 1474. Two of the walls and the ceiling remain. One of these, which is partially damaged, is covered with a realistic group of the Marquis, his wife, and the entire Court. The other shows a meeting of the Marquis with Cardinal Francesco Gonzaga, both attended by relatives. The figures are nearly all in profile and stiff in action, but intensely realistic and of monumental grandeur. The same wall contains a hunting scene, somewhat damaged, and a group of beautiful genii holding an inscription. The ceiling is richly decorated and contains a circular dome painted to represent the open sky, with angels and other figures looking over a parapet. Before going to Rome, Mantegna had also begun his nine cartoons, the "Triumph of Cæsar," now in Hampton Court, which he finished soon after his return to Mantua. They are drawn on paper in high colors, to represent, as if in bas-relief, a continuous triumphal procession, and were used as hangings. No other monument of the fifteenth century shows such knowledge and feeling for the antique. For Isabella of Este, Marchioness of Mantua, he painted two pictures in the famous chamber which she furnished with paintings by prominent Italian artists, viz. the "Triumph of Virtue Over Vice" and "Parnassus," the latter containing groups of graceful classical figures in a romantic landscape. Both are now in the Louvre.

Among his other works of the Mantuan period are: "Saint Sebastian," in the Gallery of Vienna; "Saint George," in the Academy of Venice; "Summer," "Autumn," and the "Triumph of Scipio," in the National Gallery, London. In later life he painted a large number of Madonnas, of which there are good examples in the Uffizi at Florence, the National Gallery, London, the Dresden Gallery, and the Trivulzio Collection, Milan. Particularly famous is the "Madonna della Vittoria” (1496), painted in commemoration of a supposed victory over the French, and now in the Louvre. Under a canopy of fruit and leaves, the Virgin, surrounded by saints, is represented blessing Francesco Gonzaga.

His

Mantegna was a highly cultured man for his day, was well versed in classical literature, numbering among his friends prominent Humanists, like Felice Feliciano, who dedicated a book to him. No other painter of the Renaissance understood antique art as did Mantegna. paintings were its sculpture transferred to canvas, and he mastered completely its decoration. The figures and draperies are sharp and rigid, and his archæology is sometimes more learned than artistic. He was a severe student of nature, and an intense realist. His portraits are full of strength and character, his ideal figures noble and grand. No artist of the early Renaissance had greater invention and imagination. His execution was careful, his composition good, and the excellence of his drawing is attested by the finished drawings in the Louvre, British Museum, Uffizi, and other collections. As

a colorist he did not stand on the same high level. All of his work was in tempera; and his wall paintings, which were painted upon dry plaster, are improperly called frescoes.

Mantegna was the greatest line-engraver of Northern Italy, and his influence upon that art was potent not only in Italy, but in Germany as well. Unlike Italian engravers before him, he engraved copper plates from his own designs. At first his technique was primitive, but it improved with the study of German engravings. In all cases his invention is more interesting than his technique. The best-known plates of his Paduan period are the "Flagellation of Christ," and "Christ at the Gates of Hell;" to the Mantuan period belong the "Resurrection of Christ," "Deposition from the Cross," and Entombment." This last plate had a greater influence upon art than any other ever executed. Its composition was adopted by Raphael in his picture of the same name, by Holbein (q.v.) in the "Basel Passion" series, and the figure of Saint John was used by Dürer in his "Crucifixion.” Mantegna also engraved a number of classical subjects, the best known of which are two Bacchanals and two "Battles of Tritons," and several plates from the "Triumph of Cæsar." He had a large number of followers who developed his technique and engraved his compositions, the best known of whom was "Jacopo de' Barbari."

BIBLIOGRAPHY. The sources for the life of Mantegna are chiefly his correspondence and other documents. Consult: Baschet, "Documents sur Mantegna," in Gazette des Beaux-Arts, vol. xx. (Paris, 1866). Vasari (q.v.) is unreliable upon Mantegna. The best and most complete modern authority is Kristeller, Andrea Mantegna, trans. by Strong (London, 1902). Woltmann's biography in Dohme, Kunst und Künstler Italiens (Leipzig, 1878), is a scholarly treatise. Crutwell, Mantegna (ib., 1902), is a good brief account, while Cartwright's biography in the "Great Artists Series" (London, 1881) is of a popular character. Consult also the monographs by Thode (Bielefeld, 1897) and Yriarte (Paris, 1902).

MAN TELL, GIDEON ALGERNON (1790-1852). An eminent British geologist, born at Lewes, in Sussex. He studied medicine and surgery, but devoted himself chiefly to geology and paleontolHis excellent collection of fossils was gy bought by the British Museum. He carried out investigations concerning the fossils of the Wealden formations, and discovered the great Dinosaurian reptiles. Besides a large number of papers in the Philosophical Transactions and the Geological Transactions, he published The Wonders of Geology (1838), and The Medals of Creation (1844).

MANTES, mänt. The capital of an arrondissement in the Department of Seine-et-Oise, France, beautifully situated on the left bank of the Seine, 30 miles west-northwest of Paris by rail (Map: France, H 3). A twelfth-century bridge crosses the Seine above the town, and modern bridges connect Mantes with an islet in the Seine, and with Limay on the opposite river bank. The fine Gothic Church of Notre Dame, dating from the twelfth century, occupies the site of the prior church burned during the siege of 1087; and there are other ancient buildings.

Mantes has large tanneries, saltpetre factories, and a considerable agricultural trade. Mantes was a Celtic town from which Julius Cæsar expelled the Druids; it is the Roman Medunta. William the Conqueror destroyed the town in 1087 and here received the injury which caused his death. Population, in 1901, 8034.

MANTEUFFEL, män'toi-fel, EDWIN HANS KARL, Baron von (1809-85). A Prussian general. He was born at Dresden, February 24, 1809, and in 1827 entered the army. He became in 1843 the personal aide of Prince Albrecht, and in 1848 of King Frederick William IV. His promotion was rapid, and he played a prominent rôle in the great Prussian military reforms. He took part in the war of 1864 against Denmark, and in 1865 became the Governor of Schleswig, and as such played a prominent rôle in the ultimate solution of the Schleswig-Holstein question. During the war of 1866 against Austria he commanded the Army of the Main, and during the Franco-Prussian War he commanded the First Army Corps, and participated in the battles of Colombey-Nouilly and Noisseville. Later he became the commander-in-chief of the German troops in South France, and operated effectively there, driving Bourbaki's army across the Swiss frontier. After the close of the war he was made commander-in-chief of the German army of occupation. In 1873 he was created fieldmarshal, and later sent on important diplomatic missions to Russia. His last prominent post was that of Governor of the Imperial Province of Alsace-Lorraine. He died June 17, 1885, at Karlsbad.

MANTEUFFEL, OTTO THEODOR, Baron von (1805-82). A German statesman, born at Lübben. He studied jurisprudence at Halle, and became in 1845-46 a director of one of the departments in the Prussian Ministry of the Interior. When Count Brandenburg undertook the suppression of the revolutionary movement of 1848, he was appointed Minister of the Interior. In 1850 he took office as Minister of Foreign Affairs and president of the Cabinet, and as such pursued a reactionary policy. In 1856 he was sent as Plenipotentiary to the Congress of Paris, and in 1858 retired from the Ministry. From his literary bequest H. von Poschinger published Unter Friedrich Wilhelm IV. Denkwürdigkeiten des Ministers Otto Freiherrn von Manteuffel (190001); and Preussens auswärtige Politik, 1850-58 (ib., 1902). For his biography, consult Hesekiel (Berlin, 1851).

MANTI, măn'ti. A city and the county-seat of Sanpete County, Utah, 120 miles south of Salt Lake City, on the Rio Grande, Western and Sanpete Valley railroads (Map: Utah, B 2). The Mormon temple which cost $1,500,000, is a noteworthy feature of the city, and there is a fine Central Public School building. Manti is surrounded by a productive agricultural country, largely engaged also in sheep-raising, and has flour mills and a creamery. In the vicinity are productive coal mines. Manti was settled in 1849 and incorporated two years later. Population, in 1890, 1950; in 1900, 2408.

MAN TINE'A (Lat., from Gk. Mavríveia, Mantineia). A city of Arcadia, in the Peloponnesus, on the high tableland west of Argolis. It was situated on the river Ophis, in the midst of a broad plain, and was at first a group of open

villages, owning the supremacy of Sparta. Under Argive influence the five villages united in a fortified city, but the community was dissolved later by the Spartans, only to be reconstituted by the Thebans under Epaminondas. The plain, from its strategic importance, was the scene of several battles, of which the most famous was that of B.C. 362, when Epaminondas defeated the Spartans and Athenians, but fell himself in the moment of victory. Excavations conducted by the French School at Athens during 1887 and 1888 have clearly determined the course of the walls, and laid bare the Agora and its surrounding buildings, including a small but interesting theatre. The site of the city is now called Palaopoli. Consult Fougères, Mantinée et l'Arcadie orientale (Paris, 1898).

MANTIQUEIRA, män'tê-kā'ê-rà, SERRA DA. A mountain range in Southeastern Brazil. It extends for about 200 miles parallel with the Atlantic coast and about 70 miles away from it, first along the boundary between the States of São Paulo and Minas Geraes, and then for a short distance into the latter, where it divides into two branches, the Serra dos Aimores continuing along the coast, and the Serra do Espinhaço extending through the centre of Minas Geraes. The name Mantiqueira is sometimes applied to this whole system, but is properly confined to the single range in the south. It is granitic in character, and the highest and roughest in Brazil. Its highest point, Mount Itatiaia, on the State boundary, has an altitude of 9000 feet. The range is the watershed of the Rio Grande, the principal headstream of the Paraná.

MANTIS (Neo-Lat., from Gk. μávris, diviner, prophet; so called from the position of the fore legs, which resembles the attitude of prayer). One of the popular names for any of the orthopterous insects of the family Mantidæ, and the scientific name of the type genus. Other popu lar names are 'praying insect,' 'soothsayer,' 'prophet,' 'rear-horse,' 'mule-killer.' The family

THE REAR-HORSE,

a

a, adult male Stagmomantis Carolina; b, egg-case. Mantidæ form the old group of the Orthoptera known as the Raptoria or graspers. They have the prothorax long and the front legs fitted for grasping their prey. The head is oblique and generally three-cornered. They are much more abundant in tropical regions than elsewhere, and exhibit striking instances of protective resemblance and aggressive resemblance. The so-called

'flower mantes' of tropical countries resemble the flowers of certain plants, and in these flowers they lurk awaiting the visits of the insects upon which they feed. The term 'praying' insects has been derived from the attitude which they assume when at rest or when waiting to grasp another insect; the knees are bent and the front legs are held as though supporting a prayer-book. The commonest North American species is the 'rear-horse' or 'mule-killer' (Stagmomantis Carolina), but the European (Mantis religiosa) has been introduced into the United States by accident, and has become acclimatized. The eggs of the Mantidæ are laid in tough cases attached to the twigs of trees, where the young when hatched begin immediately to feed upon plant-lice or other small soft-bodied insects, the size of the insects attacked increasing with the growth of the mantes. They have always been recognized as beneficial insects, but they are indiscriminate in their diet, and will feed upon other beneficial insects as well as upon injurious forms. Their eggs are frequently parasitized by a very curious chalcis-fly of the genus Podagrion, which by means of a long ovipositor is enabled to pierce the tough egg cases of the

mantes.

These insects seem always to have been regarded with superstitious awe. They were used by the Greeks in soothsaying, and the Hindus display a reverential consideration of their movements and flight. In Southern France the peasants believe that they point out a lost way; the Turks and other Moslems recognize intelligence and pious intentions in the actions of the mantis; a South African species is, or was, venerated by the Hottentots; the Chinese and the Javanese keep them in cages and cause them to fight for

wagers.

MANTIS'SA. See LOGARITHMS.

MANTIS SHRIMP, or SEA MANTIS. A large

burrowing crustacean (Squilla empusa), of the order Stomapoda, which lives in large irregular

holes which it excavates at or near low-water

mark of spring tides. It is so called from the resemblance of the great spiny claw to that of the mantis (q.v.). This claw is borne on the legs of the second pair, and instead of ending in a forceps-like claw, which is armed with a row of six sharp curved spines fitting into corresponding sockets, the terminal joint is turned back and is attached to the penultimate segment like the blade of a pocket knife to the handle. By means of these singular organs, says Verrill, the shrimps hold their prey securely, and can give a severe wound to the human hand, if handled incautiously. It has large eyes, but, as it remains in its burrow constantly, it is blind, the facets of the eye being partly atrophied. It lives chiefly on annelid worms. The European species is used as food, and the American species is probably edible. MANTLE (AS. mantel, mentel, OF. mantel, Fr. manteau, from Lat. mantellum, mantelum, cloak, mantle, from Lat. manus, hand + tela, texture, from texere, to weave, Skt. takṣ, to cut, to fashion). A long flowing robe, worn in the Middle Ages over the armor, and fastened by a fibula in front, or at the right shoulder. The mantle is an important part of the official insignia of the various orders of knighthood. Ladies of rank wore similar mantles, in many instances decorated with heraldic charges, in which

case the mantle bore either the impaled arms of the lady and her husband, or her husband's arms only.

A

MANTLING, LAMBREQUIN, or CONTOISE. heraldic ornament attached to the helmet. Sometimes it is cut into irregular strips and curls of the most capricious forms, supposed to indicate that it has been torn on the field of battle; but usually the strips fall in graceful, flowing lines. In British heraldry the mantling of the sovereign is of gold lined with ermine; that of peers ordinarily of crimson velvet lined with ermine; but sometimes the livery colors (see LIVERY) are adopted instead, as is generally the practice in Continental heraldry. See HERALDRY.

MANTRAS, män'tráz. A people of the territory of Malacca and Rembau, formerly regarded as a Negrito people of the Malay Peninsula, but more recently described as Sakai-Malay halfbreeds. The mixture of these peoples has resulted in giving the Mantras a somewhat taller stature than the Sakai and a whiter skin.

MANTUA, mãntui (It. Mantova). A city of Lombardy, Italy, situated on the Mincio, 25 miles by rail southwest of Verona (Map: Italy, E 2). It was formerly the capital of the Duchy of Mantua and is now the capital of the province of the same name. It occupies two islands in the river and is elaborately fortified. Three lakes formed by the river half surround the town and there are marshes adjacent. It is not a healthful city. Architecturally it is interesting on account of the Renaissance churches and secular edifices by Alberti (q.v.) and other great builders. It is still more prominent in the world of painting, owing to the works of Mantegna and Giulio Romano, both of whom resided here. The inadequate population and the sullen massive grandeur of the edifices explain why the traveler in Mantua associates the city with a gloomy decadence. The streets are regular and fine squares. The most important church is the spacious, but poorly paved. There are several spacious Sant' Andrea. Begun in 1472 as a creation of Alberti, it has been subjected to many changes of plan during the centuries. Its white façade of marble is adorned with a portico, and campanile. The interior (110 yards long) concontrasts curiously with the adjacent red brick tains many frescoes by prominent artists. Cathedral of San Pietro is not attractive, but has a fine ceiling.

The

of the Gonzagas and now consigned to military The Corte Reale, formerly the ducal palace purposes, is a notable structure dating from the beginning of the fourteenth century. It was embellished with frescoes by Giulio Romano. Its apartments are of exceptional interest for their varied decorations, representing the most delightful Italian period of the art of interior ornamentation. Another fine old Mantuan palace is the Palazzo del Tè, constructed by Giulio Romano, and adorned by him in a most artistic style. Some of the frescoes are excellent. The friezes in the loggia are by Primaticcio, who was educated in Mantua under Giulio Romano. In the old castle of the Gonzagas is a collection of archives. Among the frescoes here by Mantegna only two remain in a satisfactory condition. The Vergilian Academy of Arts and Sciences contains some specimens of art. The neighboring library in the Lyceum has a work by Rubens, who lived and studied in Man