Ancient and Mediaeval Elements in Mantegna'sTrial of St. James
Paul D. Knabenshue
MANTEGNA'S highly spectacular inscenation of the Trial St. James before Herod Agrippa in Paduan Eremitani (Fig. 1) continues to strike us as impressively classical. Indeed, his performance here particular is so convincing that we feel disposed credit him with firsthand knowledge categories ancient monuments could not have influenced European vision until classical archaeology had reached a far more advanced stage development.1 In an enterprising study about fifty years ago, it was contended some plausibility, inasmuch Arch Constantine accessible and known attracted attention Renaissance artists, based on Aurelian panel Emperor accepting submission captive Barbarian king.2 A recent study, while discounting likelihood monumental Roman model for this scene laying proper stress necessarily eclectic basically numismatic nature artist's sources, has assumed access by young Mantegna Northern Italy very wide range visual material.3 The present aims at fixing Mantegna's point view ambitious undertaking light archaeological resources, considered however beyond limits systematic historical thought imposed field modern times. It will accordingly go over much ground afresh, proceeding assumption nothing should be classified antique immediate derivation can accounted other terms.
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