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Cna85b2317313.Pdf THE PAINTERS OF THE SCHOOL OF FERRARA BY EDMUND G. .GARDNER, M.A. AUTHOR OF "DUKES AND POETS IN FERRARA" "SAINT CATHERINE OF SIENA" ETC LONDON : DUCKWORTH AND CO. NEW YORK : CHARLES SCRIBNER'S SONS I DEDICATE THIS BOOK TO FRANK ROOKE LEY PREFACE Itf the following pages I have attempted to give a brief account of the famous school of painting that originated in Ferrara about the middle of the fifteenth century, and thence not only extended its influence to the other cities that owned the sway of the House of Este, but spread over all Emilia and Romagna, produced Correggio in Parma, and even shared in the making of Raphael at Urbino. Correggio himself is not included : he is too great a figure in Italian art to be treated as merely the member of a local school ; and he has already been the subject of a separate monograph in this series. The classical volumes of Girolamo Baruffaldi are still indispensable to the student of the artistic history of Ferrara. It was, however, Morelli who first revealed the importance and significance of the Perrarese school in the evolution of Italian art ; and, although a few of his conclusions and conjectures have to be abandoned or modified in the light of later researches and dis- coveries, his work must ever remain our starting-point. vii viii PREFACE The indefatigable researches of Signor Adolfo Venturi have covered almost every phase of the subject, and it would be impossible for any writer now treating of Perrarese painting to overstate the debt that he must inevitably owe to him. I am also much indebted to the various writings of Campori and Cittadella ; to the substantial work of M. Gustavo Gruyer ; and* more particularly, to the more recently published book of Mr. Berenson on the North Italian Painters of the BenaisMmn; as also to his singularly suggest i\e charac- terisation of DOHSO Possi in the first \olume of the Study and Critirim of Italian Art. For Francia, I have derived much assistance from Dr. Williamson's monograph. For many suggestions as to symbolism and iconography, it 5* a pleasant duty to express my gratitude to Mr. CarmichaePs admirable essay in inter- pretation, entitled Franritf* Masterpiece. No explanation or apology is now needed for including Fraucia and hisBoIognese followers in a volume OH the Ferrareso painters. The master* of Bologna, at the end of the fifteenth and the beginning of the sixteenth century, drew the principles of their art from F*rmm, and hardly formed au independent school though their first and greatest master is probably better known awl more loved by the general public than any genuinely Ferrurese artist. The true Bolognese school the eclectic, coldly academic school of the Carracci belong* PREFACE ix to a later epoch. We may, to some extent, connect this with the political vicissitudes that Ferrara and Bologna underwent. While the Bentivogli were the practical rulers of the State, Bologna, though nominally subject to the Holy See, wa^ overshadowed by the dynastic influence and interests of the Estensian sove- reigns of Ferrara. But the Bentivogli fell in Francia^s lifetime ; the Ferrarese duchy was incorporated into the Papal States some ninety years later ; and Bologna then became a place of considerably more importance, socially and politically, than Ferrara. By the beginning of the seventeenth century, the artistic relations of the two cities are reversed : Carlo Bononi, the last of the painters of the Ferrarese school, sits at the feet of the Carracci, and Guercino, born at Cento (one of the towns ceded to the Duke of Ferrara by Pope Alexander VI), ranks as an artist among the Bolognese. E. G. G. CONTENTS CHAP. PAGE I. EARLY MASTERS OF FERRARA AND MODENA 1 II. COSIMOTURA 16 III. FRANCESCO DEL COSSA : THE FRESCOES OF THE SCHIFANOIA 32 IV. BALDASSARE D'ESTE : ERCOLE DE* ROBRRTI : MARCO ZOPPO : FRANCESCO BIANCHI : DO- MEN ico PANETTI 46 V. LORENZO COSTA AND FRANCESCO RAIBOLINI : I. 69 VL LORENZO COSTA AND FRANCESCO RAIBOLINI : II. 97 VII. TlMOTEO VlTI AND OTHER PAINTERS OF THE EARLY CINQUECENTO 119 VIII. Dosso AND BATTISTA Dossi 143 IX. GAROFALO : ORTOLANO : GIUOLAMO DA CARPI 169 X. LATER PAINTERS OF THE SCHOOL OF FERRARA AND BOLOGNA 192 LIST OF MOKE IMPORTANT WORKS OF PAINTERS OF THE SCHOOL or FERRARA AND BOLOGNA 203 BIBLIOGRAPHY 253 INDEX 259 ILLUSTRATIONS fag* Dosso Dossi. Circe. Borghese Gallery. Cosirao Tura. Madonna and Child. National Gallery 18 Cosimo Tura. Roverella and his Patron Saints. Palazso Colonna 26 Cosimo Tura. Adoration of the Magi. Cambridge, U.S.A. 28 School of Tura. Charity. Poldi Pexxoti Mweum SO Francesco del Cossa. Detail from the Schifanoia Frescoes, Ferrara 36 Francesco del Cossa. Madonna and Child (with Alberto Catanei). Gallery, Bologna 44 Baldassare d'Este. Death of the Blessed Virgin. Massari Collection, Ferrara 48 1 Ercole Roberti. "Medea/ Cook Collection^ Richmond 52 Ercole Roberti. Deposition from the Cross. Blumen- Ktihl Collection, Rome 54 Ercole Roberti, The Concert. National Gallery 58 Marco Zoppo. Madonna and Child. Cook Collection, Richmond 6$ xiii xiv ILLUSTRATIONS Francesco Bianchi. The Annunciation. Gallcria Estense Si- Francesco Bianchi. Cupid and Psyche. Hertford Home 66 Domenico Panetti. Madonna and Child. Gallena Esteme 68 Lorenzo Costa. The Ghedini Altarpiece. San Giovanni in Monte, Bologna 7* Francesco Francia, St. George. Crafleria Carmi 80 Francesco Francia. Portrait of Barlolommeo Bianchmi. National Gallery 82 Francesco Francia. The Nativity (with Anton Galeazxo Bentivoglio and Girolamo C^asio). Gallery * Bologna 86 Francesco Francia. The Bentivoglio AHarpiece. San Giacomo Maggiore, Bologna ,90 Lorenzo Costa. Triumph of Poetry. Lottrre $)8 Francesco Frnncm. Portrait of Evangelista Scappi. Uffiri 102 Lorensso Costa. Portrait of Battista Fiera. Xatwnal Gallery II* Attributed to Timoteo Vitt. Kuryilice and Aristieus (majolica plate). Mtt$(t* ( Vrirft, /"aiwr IW Timoteo Viti, St. Mary Magdalene. GaHtry* Bobga 12* Ercole Grandi. Portrait of n Girl. Rome Pellegrino Munari* Madonna and Child, Ferrartt ILLUSTRATIONS xv Facinff Dosso Dossi. Nymph and Satyr. Pith 146 Dosso Dossi. The Jester. Galletta E&tensc 150 Dosso Dossi. Madonna and Child with St. George and St. Michael. Gallerla Estense 154 Battista Dossi. The Nativity. Gallena Estense 16O Battista Dossi. The Dream Dresden 166 e Benveiiato Garofalo. Head of the Madonna (f La Madonna del Pilastro "). Gallery, Ferrara 170 Benven uto Garofalo, " Our Lady of Sorrow." Dresden 176 Bemenuto Garofalo Mars and Venus. Dresden 180 Ortolano. Adoration of the Shepherds. Davis Col- lection, Newport9 U.S. A 182 Ortolano Deposition from the Cross. Borghese Gallery 186 CHAPTER I EARLY MASTERS OF FERRARA AND MODENA THE Ferrarese school of painting arose shortly after the middle of the fifteenth century, when that mildest and most genial of Renaissance despots, Borso d'Este, was ruling Ferrara as vicar of the Church with the title of Marquis, and Modena, together with Reggio, as Duke under the Holy Roman Empire. A document, professedly of 124S, first cited by Borsetti, but apparently seen by no one since, declares that in that year a Ferrarese painter named Gelasio di Niccolo, who had studied under a Greek master in Venice, painted the Fall of Phacthon for Azzo Novello, of Este held in the third Marquis who sway Ferrara^ and a Madonna and Child at the bidding of the bishop of the city, Filippo Fontana, as also a banner bearing the figure of Saint George to head the procession that 1 went forth to meet the Doge of Venice, Jacopo Tiepolo. i Jffittoritt aim Ferrariet Gymnctsii (Ferrara, 1735), ii. pp. 446,44:7. Cy. TiralKjfuki, Stvria dctla Actteratura Italian** lv. pp. 733-735 (Milan, Bttruffitldi, Wtf df'JPittori e Scwttori Frrrartti, i. pp. 6-8. 1 A 2 THE SCHOOL OF FERRARA This is clearly no more than a pious fiction, intended to connect Fcrrarese art from the outset with both the mythological and religious traditions of the people. The Madonna still attributed to Gelasio, in the Pinacoteca Comunale of Ferrara, is some two centuries later in origin. Vasari tells us that, when Giotto was returning to Tuscany from " Verona, he was constrained to stop in Ferrara, and to paint in the service of those Estensian lords, in their palace and in Sanf .Agordino, certain things that 1 are still seen there to-day." This must have been after July, 1317, when Rinaldo d'Este and hi* brothers were restored to Ferrara after the prolonged struggle with the Holy See, and before the death of Dante, in September, 1321, if Vasari 5s right in hi* assertion that it was through the poet that Giotto was summoned thence to Rau*mm. No trace of Giotto's work in Forrara remains* and he seems to have had no influence upon the local painters. There is no reason for supposing that the frescoes at the ** abbey of Pomposit* lu easa di No*ira Donna in sul lito 2 are artist* Adriano,* by Ferrurt'se ; and indeed, during the whole Giottesque period, the painters of Ferranr were few in number and of slight importance* A Madonna lattmiic by nn unknown hand in San i I. Hs8. 1'iVr, *(!, Milan**}, ji, I 1 lnt*\ Par. xxi, U !*, 12X EARLY MASTERS 3 a of St. of attri- Domenico ; figure Anthony Padua, buted to Fra Donato Brasavola (a Franciscan friar who died in 1353), in San Francesco; the repainted fresco of the Madonna and Child, traditionally attributed to Laudadio Rambaldo, in the courtyard of the Castello Vecchio, and remains of frescoes in Sant' Andrea: these are the only notable paintings of the fourteenth century that survive in Ferrara to-day. Modena during the Trecento produced two painters of a higher order, a certain number of whose works are still extant: Tommaso Barisendi and Barnaba the circumstance of Agocchiari ; who, from their painting elsewhere than in their native city, were known as Tommaso da Modena and Barnaba da Modena, respectively.
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