Identifier: paintersofschool00gardrich (find matches)
Title: The painters of the school of Ferrara
Year: 1911 (1910s)
Authors: Gardner, Edmund Garratt, 1869-1935
Subjects: Painters -- Italy Ferrara Painters -- Italy Bologna Painting -- Italy Ferrara Painting -- Italy Bologna Ferrara (Italy) -- History Bologna (Italy) -- History
Publisher: London : Duckworth New York : Charles Scribner's Sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ot that 1 might seem to some to have fallenby excessive love into an immoderate semblance ofadulation. But love and the sweetness of the manscharacter have withdrawn me too long from my theme.* ^ This dulcedo viri, the sweetness of his character,seems to have deeply impressed Francias contem-poraries, and is reflected in all his art. Francia*s series of great altarpieces begins with theMadonna and Child with six Saints, painted in 1494,for the Felicini chapel in the Madonna della Miseri-cordia outside the Porta Castiglione of Bologna.Vasari (who wrongly dates it 1490) declares that this was Francias first picture ; but it is evidently the work in hiB dedication of the volume to G. A. Bentivoglio, says : * Eiusimftginem intra cubiculum tuum habere voluisti, depictam in coetupapientum, ab aurifice nobilissimo Francia. This is probably the di?puta di filoaofi, mentioned by Vasari, III. p. 539. 1 Codri Vita, ed. cit., f. LXixv. Antonio Urceo died in February,1600. ■* ^ •> -,• •
Text Appearing After Image:
IKANrr A iMnrnjAiT of bautolom.meo BrAXCuixi Niitioual Giillery To I(((•<■ jiiiiit 82 FRANCESCO RAIBOLINI 83 of an accomplished and practised master. The por-trait of the kneehng donor, Bartolommeo Felicini, whocommissioned the painting as a thankoffering for hisrecovery from ilhiess, is exceedingly fine, and the lute-playing Angel at the foot of the throne is a delightfulmotive, which became very characteristic of Francia forthe next six years, but which he appears to have com-pletely abandoned in his later works. The most important and best preserved of Franciasworks of this epoch is the altarpiece painted forGiovanni Bentivoglio in 1499, for the Bentivogliochapel in San Giacomo Maggiore, of which the wallswere already decorated with Lorenzo Costas frescoes.This, the richest in colouring of all the painters works,has much of the robust vigour of the Ferrarese school,with somewhat less of that peculiar religious sentimentwhich, now and then, tends to mannerism in his laterpict

Note About Images