https://denverartmuseum.org/object/1961.169.1
Here is a better capture:

Yeah, I was unsatisfied with "school of Mantegna" and looked up the painter as well and found this: "Girolamo first appears working alongside Taddeo Crivelli and other artists in Ferrara on the magnificent Bible of Borso d'Este, which was executed between 1455 and 1461. His art is most closely related to the Mantuan court painter Andrea Mantegna, who in 1461 seems to have recommended him to complete a missal for Barbara of Brandenburg, the wife of one of Mantegna's patrons, Ludovico Gonzaga, Marquis of Mantua. Around 1468, Girolamo began illuminating choir books in Siena, a project on which he collaborated with Liberale da Verona. He also worked in Florence for a time before ending his career in Venice. By the 1470s, Venice had become a major center of the new technology of printing, and Girolamo worked there, primarily illuminating frontispieces for deluxe versions of early printed books, called incunabules. These miniatures are known for their playful and extravagant trompe-l'oeil conceits." Not sure what that leaves us with other than "school of Mantegna" after all.Ross G. R. Caldwell wrote: ↑06 Jul 2019, 13:25The Denver Art Museum owns the cassone, and they attribute it to Girolamo da Cremona. There is no more detailed analysis of the image that I can find in their bibliography, it seems to be merely a history of former owners and catalogue entries
Again, my emphasis is not on the bound figure - at all events it would be a stock figure tormented by love, whether a historical exemplar or an everyman, the admonitory message of the wiles of Love is the same. As for the engraving, if the planets are represented - exerting their own influences on the bound figure, even as they are themselves subject to the whims of Love - I'm of the opinion that it wouldn't matter if it is Samson or not (the planetary influences always existed for humanity, Biblical through Classical periods through "today"); Samson's main meaning is that even a strong hero falls prey to Love. My only caveat is Samson was a fairly common figure in Triumphs of Love - thus in copybooks for such - and that tonsured hair detail might have simply been retained from said copybook for a bound captive, even if the captive was meant to be generic.Ross G. R. Caldwell wrote: ↑07 Jul 2019, 13:24Excellent observation, that the plinth shows everyman in various, bound and tormented, poses. I was already persuaded of the everyman interpretation, but that seals it.
Not, however, for the engravings. The shorn hair marks him as Samson, even without Delilah.
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