regiment and his lands. Some time after, he entered again into the Prussian service, where he acted as a volunteer in 1745; and having sufficiently signalized his abilities and courage, was appointed major-general of infantry in 1754. In the war of 1756, he fell the very second year by a shot; leaving two sons and four daughters. His "Memoirs of Russia," printed at Lyons in 1772, in 2 vols. 8vo, are at once historical, political, and military. They contain the principal revolutions of that empire, and the wars of the Russians against the Turks and Tartars; besides a short sketch of the military and marine establishments, and also of the commerce of his country. These memoirs commence in 1727, with the reign of Peter II. and close with the first year of the empress Elizabeth. They are considered as deserving of much reliance from the truth of the facts, and the sincerity of the author.'

MANTEGNA (ANDREA), an eminent Italian painter, was born in 1431, at Padua or in its district. His parents were poor, but Squarcione, whose pupil he became, was so deeply struck with his talents, that he adopted him for his son, and repented of it when Andrea married a daughter of Jacopo Bellini, his competitor. But the censure which now took place of the praise he had before lavished on his pupil, only added to his improvement. Certain basso-relievos of the ancient Greek style, possessed by the academy in which Andrea studied, captivated his taste by the correctness of their outline, the simplicity of the forms, the parallelism of the attitudes, and strictness of the drapery the dry servility with which he copied these, suffered him not to perceive that he had lost the great prerogative of the originals, the soul that animates them. The sarcasms of Squarcione on his picture of S. Jacopo, made him sensible of the necessity of expression and character; be gave more life to the figures in the story of S. Cristophoro; and in the face of St. Marc, in the church of S. Giustina, united the attention of a philosopher with the enthusiasm of a prophet. While the criticisms of Squarcione improved Mantegna in expression, the friendly advice of the Bellini directed, his method, and fixed his principles of colour. During his short stay at Venice, he made himself master of every advantage of that school; and in some of his pictures there are tones and tints in flesh and

1 Dict. Hist.

landscape, of a richness and zest equal to the best Venetians of his day. Whether he taught Bellini perspective is uncertain; Lomazzo affirms "that Mantegna was the first who opened the eyes of artists in that branch."

The chief abode and the school of Mantegna were at Mantua, where under the auspices of Marchese Lodovico. Gonzaga, he established himself with his family, but he continued to work in other places, and particularly at Rome, where the chapel which he had painted for Innocenzio VIII. in the Vatican existed, though injured by age, at the accession of Pius VI. The style of those frescoes proved that he continued steady in his attachment to the antique, but that from a copyist he was become an imitator. Of his works in oil Mantua possesses several; but the principal one, the master-piece of the artist, and the assemblage of his powers, the picture della Vittoria, afterwards in the Oratorio de Padri di S. Filippo, is now at Paris. It is a votive picture dedicated, for a victory obtained, to the Madonna seated on her throne with the infant standing on her lap, and giving benediction to the kneeling marquis in arms before her. At one side of the throne stands the archangel Michael, holding the mantle of the Madonna; at the other are S. George, S. Maurice, John the Baptist, and S. Elizabeth on her knees. The socle of the throne is ornamented with figures relative to the fall of Adam: the scene is a leafy bower peopled by birds, and here and there open to a lucid sky. No known work of Mantegna equals in design the style of this picture: they generally shew him dry and emaciated, here he appears in all the beauty of select forms: the two infants and St. Elizabeth are figures of dignity, so the archangel who seems to have been, by the conceit of his attitude and the care bestowed on him, the painter's favourite object. The head has the beauty and the bloom of youth, the round fleshy neck and the breast, to where it confines with the armour, are treated with great art, the expression is to a high degree spirited, and as characteristic. The countenance of the Madonna is mild and benign, that of Christ humane. The future prophet is announced in the uplifted arm of St. John. The guardian angel kindly contemplates the suppliant, who prays with devout simplicity. The whole has an air of life. All the draperies, especially that of St. Elizabeth, are elegant, and correctly folded; with more mass and less intersection of surfaces, they would be perfect. The

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extreme finish of execution, as it has not here that dryness' which disfigures most other works of this master, does not impair the brilliancy of colour. The head of the Madonna, of the infant, of St. Michael, have a genial bloom of tints. The lights are everywhere true, the shades alone are sometimes too grey or too impure. The general scale of light has more serenity than splendour, more the air of nature thau of art, but the reflexes are often cut off too glaringly from the opaque parts. The whole of the picture has preserved its tone to this day, is little damaged, and in no place retouched.

Of the remainder of Mantegna's works, besides some frescoes of considerable merit, but much injured, in a saloon of the castle of Mantua, and the well known triumph of Cæsar in various compartments at Hampton court, little now remains. His name is more frequent in galleries and collections than his hand; lankness of form, rectilinear folds, yellow landscape, and minute polished pebbles, are less genuine signs of originals than correctness of design and delicacy of pencil. It is not probable that a man so occupied by large works, and so much engraving, should have had time to finish many cabinet-pictures: the series of his plates consist of upwards of fifty pieces, executed by his own hand; and though he was not the inventor of the art, he was certainly the first engraver of his time.

Andrea had great influence on the style of his age, nor was the imitation of his style confined to his own school; Francesco, and another of his sons, finished some of the frescoes which he had begun in the castle, and added the beautiful ceiling which shews that the science of foreshortening, and what the Italians call " del sotto in su," though Melozio be its reputed author, was carried much farther by Mantegna and his followers. Mantegna died in 1505. Besides his talents for painting, Mantegna was one of the earliest engravers on metal, some, indeed, say the very first, but this does not appear to have been the case. Strutt, who gives a list of his principal engravings, has also exhibited a specimen in his Dictionary.'

MANTON (THOMAS), one of the most learned and eminent nonconformists of the seventeenth century, was born at Lawrence Lydiard, in Somersetshire, in 1620. His

By Fuseli in the last edition of Pilkington. Mr. F. has bestowed more than usual pains on this a ticle.-See also Bullart's Academie des Sciences.-Roscoe's Lorenzo and Leo.-Strutt.

father and grandfather were both clergymen, but of them we have no account, except that his father was settled at Whimpole in Devonshire, and sent his son to the freeschool at Tiverton. Here his progress was such that he was thought qualified to begin his academical studies at the age of fourteen, and about a year after, in 1635, he was entered of Wadham college, Oxford. From thence, in 1639, he removed to Hart-hall, where he took his bachelor's degree in arts. Wood says, he was accounted in his college," a hot-headed person,"-a character very remote from that which he sustained throughout life, and when all eyes were upon him. After studying divinity, he was admitted to deacon's orders by the celebrated Dr. Hall, bishop of Exeter, and although this was sooner than Mr. Manton approved upon maturer thought, bishop Hall appears to have thought him duly qualified, and predicted that "he would prove an extraordinary person." As he came into public life when principles of disaffection to the church were generally prevalent, it appears that he entered so far into the spirit of the times, as to be content with deacon's orders, and to deny the necessity of those of the priest.

His ministerial functions were exercised in various places, first at Sowton near Exeter, and then at Colyton in Devonshire, where he was much respected. Removing to London, he became more admired for his talents in the pulpit, and about 1643 was presented to the living of Stoke Newington, by colonel Popham, and here preached those lectures on the epistles of St. James and St. Jude, which he afterwards published in 1651 and 1652, 4to. During his residence at Newington, he often preached in London, and is said to have preached the second sermon before the sons of the clergy, an institution then set on foot, chiefly through the influence of Dr. Hall, son to the bishop, who preached the first. He was also one of those who were called occasionally to preach before the parliament, but being a decided enemy to the murder of the king, he gave great offence by a sermon in which he touched on that subject. In 1651 he shewed equal contempt for the tyranny of the usurpers, by preaching a funeral sermon for Mr. Love (see CHRISTOPHER LOVE), and in neither case allowed the fears of his friends to prevent what he thought his duty.

In 1650 he removed from Stoke-Newington, on being presented to the living of Covent garden by the earl, afterwards duke of Bedford, who had a high respect for him. At this church he had a numerous auditory. Archbishop Usher, who was one of his hearers, used to say that he was one of the best preachers in England, and had the art of reducing the substance of whole volumes into a narrow compass, and representing it to great advantage. Although he had already, by the two sermons above noticed, shewn that he was far from courting the favours of government, Cromwell, who well knew how to avail himself of religious influence and popular talents, sent for him in 1653, when he assumed the protectorate, and desired him to pray at Whitehall on the morning of his installation; and about the same time made him one of his chaplains. He was nominated also by parliament one of a committee of divines to draw up a scheme of fundamental doctrines. In the same year he was appointed one of the committee for the trial and approbation of ministers, and appears to have acted in this troublesome office with considerable moderation. What influence he had with Cromwell, he employed for the benefit of others, and particularly solicited him to spare the life of Dr. Hewit, a loyalist, whom Cromwell executed for being concerned in a plot to restore Charles II. In 1660, when the days of usurpation were over, Mr. Manton co-operated openly in the restoration of Charles, was one of the ministers appointed to wait upon his majesty at Breda, and was afterwards sworn one of his majesty's chaplains. In the same year he was, by mandamus, created doctor of divinity at Oxford.

He was then one of the ministers who waited upon the king after his arrival, to beg his majesty's interposition for reconciling the differences in the church; and afterwards joined several of his brethren, in a conference with the episcopal clergy, at the lord chancellor's house; preparatory to the declaration of his majesty, who was likewise present. Being satisfied with this declaration, Dr. Manton continued in his living of Covent-garden, and received episcopal institution from Dr. Sheldon, bishop of London, Jan. 16, 1661, after having first subscribed the doctrinal articles only of the church of England, and taken the oaths of allegiance and supremacy, and of canonical obedience in all things lawful and honest. He also allowed that the common-prayer should be read in his church. Soon after