Czére Andrea szerk.: A Szépművészeti Múzeum közleményei 104. (Budapest, 2006)

TERÉZ GERSZI: Pieter Coecke Van Aelst and Andrea Mantegna

ANDREA MANTEGNA, THE TRIUMPH OF CAESAR: THE ELEPHANTS. HAMPTON COURT. ROYAL COLLECTION usually not satisfactory. The major part of the Budapest composition is occupied by a terraced mountainside, while on the right-hand side an attempt is made to represent somewhat continuous space with the aid of horizontal tiers starting from the group of trees at the right and going on to the river and behind it to the mountains. Its result can be appreciated in its reality if we compare it to the already mentioned work of the Brunswick Monogrammist, in which the rendition of the mountain and the road leading to it are far from being successful, in part because of the vertical joining of the two." In the Budapest drawing, the diagonally stepping slope ensures a more grandiose structure and a more authentic illusion of space. Coecke must have become acquainted with this solution through Andrea Mantegna's Agony in the Garden