Mantegna was, as he deserved to be, Squarcione's favourite pupil.
The remarkably definite and original style formed by Mantegna may be traced out as founded on the study of the antique in Squarcione's atelier, followed by a diligent application of principles of work exemplified by Paolo Uccello and Donatello, with the practical guidance and example of Jacopo Bellini in the sequel.
Among the other early works of Mantegna are the fresco of two saints over the entrance porch of the church of S.
It is probable, however, that before this time some of the pupils of Squarcione, including Mantegna, had already begun that series of frescoes in the chapel of S.
Successful and admired though he was in Padua, Mantegna left his native city at an early age, and never afterwards resettled 1 His' fellow-workers were Bono of Ferrara, Ansuino of Forli, and Niccolo Pizzolo, to whom considerable sections of the frescopaintings are to be assigned.