Above every other branch of inferior painting, however, the ornamental and perspective then flourished at Bologna. This art, as we have stated, after the solid foundations on which it had been placed by Dentone and Mitelli, aimed too much at a pleasing and beautiful, without consulting a natural effect. But the school did not all at once deteriorate, being some time maintained by imitators of some of the most correct models. In this number Zanotti extols Jacopo Mannini, a most accurate artist, who decorated a chapel at Colorno for the Duke of Parma, in which the Cav. Draghi was employed as figurist, whose genius was at once as eager and rapid as Mannini's was slow. Much like two steeds of opposite temper yoked to the same vehicle, their sole occupation seemed that of biting and kicking each other; and it became necessary to separate them, the slow one being sent back to his native Bologna, where owing to this blemish he never met with any encouragement. Arrigo Haffner, a lieutenant, with Antonio his brother, who died a Philippine friar in Genoa, were also followers of Mitelli in delicacy and harmony of colour. They had been much employed at Rome under Canuti, their master in figures, and the former was chosen by Franceschini to paint the perspectives in the church of Corpus Domini. They produced also a good deal at Genoa and its state, sometimes with one, sometimes with another of the more eminent figurists. Antonio acquired most reputation, superior perhaps in all but invention to his brother, particularly in the sweet union of his tints, as well as in the estimation of distinguished personages. He was called by the Grand Duke Gio. Gastone to Florence, to consult him respecting the altar of _pietre dure_, intended for the chapel of the Depositi at S. Lorenzo.

A still higher station in this profession was attained by Marcantonio Chiarini, an excellent architect as well as writer in that department. He had frequent invitations from Italian princes and lords, and even from Germany, where he painted along with Lanzani in the palace of Prince Eugene of Savoy. Many of his pictures, conducted in perspective for n.o.ble Bolognese families, still remain, and are held as models of a sound and true taste, imitating the ancient colouring and design, without giving admission to certain marbles, which appear like gems, but please only the inexperienced. From Chiarini's manner was derived that of Pietro Paltronieri, universally known under the name of the _Mirandolese dalle prospettive_. He was the Viviano of this latter age, and his architectural pieces on the ancient model are met with, not only in Bologna, where he resided, but in Rome, where he long continued, and in a number of other cities. They consist of arches, fountains, aqueducts, temples, ruins, tinged with a certain reddish colour, which serves to distinguish them among many others. To these he adds skies, fields, and waters, which appear real; nor do they want appropriate figures, introduced by Graziani and other select young artists at Bologna. We must not confound Mirandolese with Perracini, also known in Bologna by the name of Mirandolese, who flourished at the same period, but with no sort of reputation beyond that of a tolerable figurist.

The school of Cignani increased that of the perspective painters. It first presented them with Tommaso Aldrovandini, nephew to Mauro; both of whom accompanied Cignani's figures in the public palace of Forli. Tommaso was employed with Cignani himself at Bologna and Parma. Conforming himself, under the eye of this celebrated master, to his best style, he so far succeeded, that the whole appears the work of Carlo alone, more especially in the chiaroscuro. His ornamental portion, too, is there conducted so that neither the precise extent of the light, nor of the shade, is apparent, but only an effect resulting from them, as we see it in nature. He executed the architectural ornaments in the grand hall of Genoa, painted, as we have said, by Franceschini; and he left other works in that capital. It was his invariable custom to modify his style, alternately soft or strong, in the manner of the figurist. He instructed in the art Pompeo, son of Mauro, and his cousin, who, after having displayed some specimens at Turin, Vienna, Dresden, and in many other foreign cities, resided, and died at Rome, with the reputation of a very elegant artist. From the school of Pompeo sprung two ornamental painters, Gioseffo Orsoni, and Stefano Orlandi, who, in conjunction, painted some able frescos in various Italian cities, besides many theatrical pieces for the same places.

Whatever splendor of ornament may have been conferred upon the theatre by the Aldrovandini family, so greatly devoted to it; that of the Galli, in the present age, sprung from Gio. Maria, pupil to Albani, surnamed, from his country, Bibiena, has acquired still greater celebrity. By the same surname were distinguished Ferdinando and Francesco, his sons, with their posterity; nor has any pictoric family, either in this or any other age, advanced higher claims to public notice. There was hardly any court that invited not some of the Bibieni into its service; nor was any sphere more eligible for that family than the great courts, whose sovereign dignity was equalled by the elevation of their ideas, which only princely power could carry into execution. The festivals which they directed on the occasion of victories, of nuptials, or of royal entrances, were the most sumptuous that Europe ever witnessed. The genius of Ferdinando, formed for architecture, and for this reason wholly directed to it by Cignani, attained such excellence, that he was enabled to teach it, in a volume which he printed at Parma. He afterwards corrected some parts of it, in two little volumes published at Bologna; the one upon civil architecture, the other on the theory of perspective. Indeed, his genius and works gave new form and character to the theatres. He was the real inventor of those magnificent scenes which we now witness, and of that rapid mechanic motion with which they are seen to move and change. He spent great part of his life in the Duke of Parma's service; a good deal at Milan, and at Vienna, in the court of Charles VI.; always more esteemed as an architect than as a painter. But here, too, he shone, not only in colouring scenes, and similar productions for public festivals; but in perspectives for palaces and temples, more particularly for the state of Parma. Francesco, less learned, but an equally prompt and elevated designer, pursued the same line, and extended it in different cities, being invited to Genoa, Naples, Mantua, Verona, and Rome, at which last he remained three years. He entered the service of the Emperors Leopold and Joseph, who changed his resolution of proceeding to England, and subsequently to Spain, where Philip V. had already declared him his architect. In different collections the perspective pieces of the two brothers appear; and they are occasionally enlivened with figures by the hand of Francesco, who acquired his knowledge from Pasinelli and Cignani, instances of which I have seen in different collections at Bologna.

Ferdinando had a numerous family, of whose members we shall mention Alessandro, Antonio, and Giuseppe; not because equal to their predecessors, but as being versed in the practice of their manner, both in oil and fresco; and on this account eagerly sought after by the different courts of Europe. The first entered into the service of the Elector Palatine, in which he terminated his days. The second was much employed at Vienna and in Hungary. On returning into Italy, too, he still removed from place to place, being retained by all the first cities in Tuscany; and still more in Lombardy, until the period of his death, which occurred at Milan. He was an artist more admired for his facility of genius than for his correctness.

Giuseppe, who, on his father's departure from Vienna on account of illness, was subst.i.tuted architect and painter of court festivals in his twentieth year, afterwards left that city for Dresden, where he enjoyed the same office, and, after the lapse of many years, also at Berlin. He was invariably patronised by princes, who gave him regular salaries; and by other members of the empire, who engaged him, at the moment, to adorn their festivals and theatres. His son Carlo pursued the same career, being pensioned first by the Margrave of Bareith, and afterwards by the King of Prussia, as successor to his father; but he acquired greater reputation in foreign countries. For, Germany becoming involved in war, he took occasion to make the tour of France, proceeding through Flanders and Holland, and visiting Rome on his return into Italy. Last of all he made a voyage into England, and at the court of London rejected very advantageous offers to take up his residence in that city. Many of the decorations invented by Giuseppe and Carlo, on occasion of public festivals, have been engraved from their designs, in the production of which they were equally rapid, masterly, and refined.

Where the Bibieni had failed in introducing their novel inventions for grand spectacles, their disciples finally succeeded. In this list, according to the history of Zanotti and of Crespi, the most eminent rank is held by Domenico Francia, once the a.s.sistant of Ferdinando at Vienna, afterwards architect and painter to the King of Sweden. After his term with that court had elapsed, he visited Portugal, and again proceeded to Italy and Germany, till his arrival in his native place, where he died. To him we may add the name of Vittorio Bigari, mentioned in high terms by Zanotti, an artist employed by different sovereigns of Europe, and the father of three sons, who pursued the same career. He also displayed singular merit in his figures. Nor must we omit Serafino Brizzi, who obtained equal reputation for his perspectives in oil interspersed both throughout foreign and native cities. It would form, however, an undertaking no way adapted to a compendious history, to collect the names of all the professors of so extended an art; and the more so as, in the course of the present age, it was becoming the general opinion that in many respects such art was greatly on the decline, owing to the prevalence of only middling and inferior artificers.

Not many years ago, however, it seemed to revive, and a new epoch opened upon the public, the praise of which is due to Mauro Tesi, to whom his friends raised a marble monument in S. Petronio, with a bust and the following inscription: "Mauro Tesi elegantiae veteris in pingendo ornatu et architectura rest.i.tutori." He belonged to the state of Modena, and, when young, was put to the school of a very poor painter of arms in Bologna.

Thus it was his lot, writes Algarotti, to have had not a single master of architecture among the moderns. By means of a peculiar natural genius, and studying the designs of Mitelli and Colonna, examining at the same time their models throughout the city, he re-conducted the art to a style, solid in architecture, sparing in decoration, as it had formerly been, and in some parts still more philosophical and learned. His patron, the excellent Count Algarotti, a.s.sisted in perfecting his taste, and made him his companion on his tours, encouraging him to make very excellent observations on the works of the ancients. Whoever has perused his life and publications, a fine edition of which appeared at Venice, edited by the learned Aglietti, will have perceived that he was as much attached to Tesi as if he had been his own son. Nor did Tesi shew less respect to Algarotti than to a father; and when the latter went to Pisa for his health, his young friend devoted himself so a.s.siduously to him, as to contract the same disease, of which he died two years afterwards, still very young, at Bologna. Here he left various works, the most conspicuous consisting of a gallery belonging to the deceased Marquis Zambeccari, with marbles, camei, and figures, very well executed; a picture displaying grand relief combined with the most finished exactness. In Tuscany also are some remains of his taste, at S. Spirito in Pistoia, and in the hall of the Marquis Gerini at Florence. I saw, too, in possession of the count's heirs at Venice, two pictures, conceived by Algarotti and painted by Mauro. One of these, which he has described (vol. vi. p. 92) represents a temple of Serapis, decorated in the Egyptian manner, with ba.s.si-relievi and pyramids in the distance; fit to adorn the choicest cabinet. It is enriched with figures by Zuccherelli, in the same way as Tiepolo added them to Tesi's other pieces.

There are engravings of some of Mauro's works in possession of the same n.o.bles, as well as his whole studio of designs, landscapes, views of architecture, capitals, friezes, figures; a rich and copious a.s.semblage of materials, almost superfluous in so short but bright a career. After Mauro, no greater proofs of esteem in this art were shewn by Algarotti to any one than to Gaspero Pesci, to whom he directed a number of his letters; of him too Algarotti's heirs possess two pictures, consisting of ancient architecture, with slight sketches of figures, scarcely indicated.

But at length we approach a conclusion. The Bolognese academy still continues to flourish in pristine vigour; the aids afforded to the pupils have even been extended; and, in addition to the academical prizes, there are dispensed others, which the n.o.ble families Marsili and Aldrovandi established at stated meetings, and which still go by their name. I cannot, however, as in other schools, record very splendid remunerations to the masters. But this forms the more rare and distinguished honour of the Bolognese artists--to labour for distinction, and to confer their preceptorial services in the arts and sciences upon their country, not only without reward, but even to their own loss, a subject fully treated of by Crespi (pp. 4, 5) in his _Felsina_. Notwithstanding these disadvantages they have continued to maintain, during two centuries, the character of masters in the art. From the time the Caracci first spoke, almost every other school listened and was silent. Their disciples followed, divided into a variety of sects; and these continued, for a long period, to hold sway in Italy. The reputation of the figurists being somewhat on the decline, a subst.i.tute sprang up in the decorative and perspective painters, who established laws, and produced examples, still eagerly imitated both in Italy and other parts. Neither the Bibieni, the Tesi, nor the others whom I have mentioned towards the close, are so exclusively ent.i.tled to historical consideration, but that the Gandolfi[56] family, with several others, which have either recently become extinct, or still flourish, may claim a share.

Doubtless these will not be in want of deserved eulogy from other pens, that will successively follow mine.

Footnote 56: Previous to the present edition, Gaetano Gandolfi breathed his last; Ubaldo, his elder brother, having already preceded him to the tomb, at the time he was preparing to decorate the cupola of S. Vitale in Ravenna.

Ubaldo had been pupil to Torelli, to Graziani, and in particular under Lelli had exercised his talents in drawing successfully from the naked model, and to such a foundation added dignity of style. Of this, several works in painting conducted with extreme care, as well as some in clay and stucco, at Bologna, and other places in Romagna, are the proof. But to judge more particularly of his merits, we ought to examine his academical designs. In his ideas he was common, and not very natural in his colouring, and generally considered on this account inferior to his brother Gaetano, who was esteemed in Italy one of the most able artists of his day. Bologna, always grateful to its eminent citizens, expressed at his decease the degree of esteem in which he was held while living. His obsequies, of which a separate account was published in folio, equal what we read in Malvasia respecting those of Agostino Caracci; and the oration there recited in his praise by Sig. Grilli, deserves insertion in any of the most select works written on the art. There too, Gandolfi, very judiciously, is not held up as a model in painting; a forbearance which he himself displayed, even refusing to receive pupils, and observing that he was himself in want of instruction. Yet from the influence of his great reputation he was frequently imitated, and, as it happened, with most success in his worst qualities, more particularly in his tints. In this respect he had been ill grounded by his elder brother; but improved himself by studying for the s.p.a.ce of a year at the fountain head of colourists, in Venice, and by copying for a Venetian dilettante the finest pieces of the Caracci at Bologna. It is difficult to account for his fine colouring in some paintings, equal at least to the good artists of his time, and his inferior colouring in others, as that of the Death of Socrates, at Monsig. Trenta's, bishop of Foligno.

It is feeble and deficient in truth, owing either to caprice or to age. In his preparations of paintings he was more commendable: his first conceptions were sketched on slate with pencil, and more carefully on paper. He next began to select; modelled the figures in chalk, and draped them; afterwards forming the design on a large scale, and by aid of his experiments, and of the living model, he went on completing and retouching his work. He has been accused of borrowing a little too freely from ancient models; but whoever had seen him, aged as he was, devoting himself in the public academy to the practice of modelling, will not unjustly confound him with those plagiarists, so notorious in our own day. Moreover, he may be p.r.o.nounced inimitable to most artists, in those rare gifts, which nature had lavished upon him: enthusiasm, fertility of invention, sensibility, and skill in depicting the pa.s.sions; to which he added a correct eye, and ability both to design and compose, in the decoration of friezes for the inst.i.tute, exotic plants and other rarities of nature, as well as to engrave with much elegance, and skill to paint in oil as well as in fresco. A really impartial biographer must pa.s.s his opinion on every man, and let his verdict result from an examination of his masterpieces. Such belonging to Gandolfi are his a.s.sumption, in the ceiling at S. M. della Vita, and the Nuptials of Cana, at the refectory of S. Salvatore in Bologna; not to insist on the Martyrdom of S. Pantaleone, at the church of the Girolimini in Naples, with some other works scattered through various parts of Italy.

BOOK IV.

SCHOOL OF FERRARA.

EPOCH I.

_The Ancients._

Ferrara, once the capital of a small princ.i.p.ality under the dukes of Este, but, since the year 1597, reduced into a legation, dependant upon the see of Rome, lays claim to a series of excellent artists, greatly superior to its power and population. This, however, will appear less extraordinary, if we call to mind the number of its ill.u.s.trious poets, commencing even before the time of Boiardo and Ariosto, and continued down to our own days; a sure indication of national genius, equally fervid, elegant, and inventive, adapted, more than common, to the cultivation of the agreeable arts. Added to this felicity of disposition was the good taste prevalent in the city, which, in its distribution of public labours, or its approbation of their results, was directed by learned and enlightened men, of whom it could boast in every department. Thus the artists have in general observed appropriate costume, kept their attention on history, and composed in such a manner that a cla.s.sical eye, particularly in their paintings in the ducal palaces, recognizes the image of that antiquity of which it has previously obtained a knowledge from books. The conveniences of its site, also, have been favourable to the progress of painting at Ferrara; which, situated near Venice, Parma, and Bologna, not far from Florence, and at no very great distance from Rome itself, has afforded facility to its students for selecting from the Italian schools what was most conformable to the peculiar genius of each. Hence the origin of so many beautiful manners as adorn this school; some imitating only one cla.s.sic master, others composed of various styles; so that Giampietro Zanotti was in doubt whether, after the five leading schools of Italy, that of Ferrara did not surpa.s.s every other. It is not my purpose to decide the question, nor could it be done without giving offence to one or other of the parties. I shall here only attempt a brief history of this school upon the same plan as the rest; and I shall include a few artists of Romagna, agreeably to my promise in the preceding book, or, to speak more correctly, in its introduction.

The most valuable information which I have to insert will be extracted from a precious MS. communicated to me by the Ab. Morelli, the distinguished ornament of his age and country, no less than of the learned office he fills.[57] This MS. contains the lives of Ferrarese professors of the fine arts, written by Doctor Girolamo Baruffaldi, first a canon of Ferrara, next archpriest of Cento. To these is prefixed a laboured preface by Pierfrancesco Zanotti, with copious emendations and notes by the Canon Crespi. Such a work, drawn up by this polished writer, and thus approved, continued, and ill.u.s.trated by two men of the profession, was long a desideratum in Italy; nor do I know why it never made its appearance. A specimen, indeed, was given by Bottari, at the end of his Life of Alfonso Lombardi, in the course of which he inserted the life of Gala.s.so, and of a few other artists of Ferrara. Moreover, in the fourth volume of the "Lettere Pittoriche," he published a letter of the deceased Can. Antenore Scalabrini, relating to Baruffaldi's MS., which underwent this n.o.ble ecclesiastic's corrections, communicated by him to Crespi, who inserted them in his annotations. Baruffaldi, also, having commenced the lives of the artists of Cento, and of Lower Romagna, a work left unfinished, Crespi supplied all it wanted; and it has been mentioned by us in the school of Guercino, and among some artists who flourished at Ravenna and other cities of Romagna. Cittadella, author of the "Catalogue of Ferrarese Painters and Sculptors," (edited in 1782, in 4 vols.) declares that he drew his chief information from Baruffaldi, (vol. iii. p. 140). He complains, however, in the preface, that a more correct work being either destroyed or lost, (alluding probably to this work with Crespi's notes), "he has not been in possession of such undoubted authorities as might be desired;" a very candid admission, fully ent.i.tled to credit. But this work having come into my possession, through the courtesy of my learned friend, I shall avail myself of it for public information. On such authority I shall freely ground this part of my history, adding notices drawn from other sources, and not unfrequently from the Guide of Ferrara, published by the learned Frizzi, in 1787; a work that may be included among the best yet given to Italy. So much we state by way of exordium.

Footnote 57: That of head librarian at St. Mark's.

The Ferrarese School took its twin origin, so to say, with that of Venice, if we may credit a monumental testimony, cited by Dr. Ferrante Borsetti, in his work called "Historia almi Ferrariensis Gymnasii," published in 1735.

This memorial was extracted from an ancient codex of Virgil, written in 1193; which, according to Baruffaldi, pa.s.sed from the library of the Carmelites at Ferrara, into the possession of the Counts Alvarotti at Padua, whose books, in course of time, were added to the library of the Paduan seminary. At the end of this codex is read the name of Gio.

Alighieri, the miniaturist of this volume; and in the last page there had afterwards been added, in the ancient vulgar tongue, the following memorial:--that in 1242, Azzo d'Este, first lord of Ferrara, committed to one Gelasio di Niccolo, a painting of the Fall of Phaeton; and from him too Filippo, bishop of Ferrara, ordered an image of our Lady, and an ensign of St. George, which was used in going to meet Tiepolo, when he was despatched by the Venetian republic as amba.s.sador to Ferrara. Gelasio is there stated to belong to the district of St. George, and to have been pupil in Venice to Teofane of Constantinople, which induced Zanetti to place this Greek at the head of the masters of his school. On the authority of so many learned men, to whom such memorial appeared genuine, I am led to give it credit; although it contains some marks that, at first sight, appear suspicious. I have further made inquiries after it in the Paduan seminary, but it is not to be found there.

Approaching the fourteenth century, I find mention, that whilst Giotto was returning from Verona into Tuscany, "he was compelled to stop at Ferrara, and paint in the service of these lords of Este, at their palace; also some pieces at S. Agostino, which are still there;" that is, in Vasari's time, from whom these words are cited. I am uncertain whether any yet exist; but they afford sufficient authority to believe that the Ferrarese School, directed by such models, revived in an equal degree with the other schools of Italy. There are no accounts of the artists who flourished nearest to Giotto, from which we may judge how far they were influenced by his manner.

His successors, however, must have been one Rambaldo and one Laudadio, who, about 1380, are recorded, in the annals of Marano, to have painted in the church of the Servi. This is now demolished, nor does there exist any account of the style of these painters. As early as 1380 appeared paintings in fresco in the monastery of S. Antonio, by an unknown hand, and also retouched, but of whose style I find no indication. In the Bolognese School I treated of one Cristoforo, who painted about the same time, at the church of Mezzaratta; but as it is a disputed question whether he belonged to Ferrara or to Modena, nothing certain can be concluded as to his manner.

Thus the history of letters affords us some degree of light, up to the opening of the fifteenth century; but the history of existing monuments only dates from Gala.s.so Gala.s.si, an undoubted Ferrarese, who flourished subsequent to the year 1400, when even in Florence the Giottesque style had begun to decline in favour of more recent artists.

The master of this artist is unknown; nor can I easily suppose, with some, that he was educated at Bologna. I found my objection upon an observation made upon Gala.s.so's pictures, mentioned by us in the church of Mezzaratta at Bologna, and obvious to all. They consist of histories of the Pa.s.sion, signed by the author's name; and, if I mistake not, they are wholly opposed to the style of all other pieces in the same place. The character of the heads is well studied for that period, the beards and hair more in disorder than in any other old painter I have seen; the hands small, and fingers widely detached from each other; and, in the whole, something peculiar and novel, apparently not derived from the Bolognese, from the Venetians, nor from the Florentines. I conjecture, then, that he acquired this style of design when young, and introduced it from his native place; the more so, as this production appearing in 1404, according to Baruffaldi, must have formed one of his earliest specimens at Bologna. He afterwards remained there many years, though I cannot think the date 1462, said to be attached to one of his histories, genuine; and, if there, it must have been added subsequently; but other proofs are not wanting of his permanent residence.

For he there took the portrait of Niccolo Aretino, the sculptor, who died in 1417, as we are a.s.sured by Vasari; and on other authority, he produced some altar-pieces, one of which yet exists at S. Maria delle Rondini. It represents the Virgin sitting among various saints, and boasts, says Crespi, a depth of colouring, combined with architecture, countenances, and drapery not ill designed. He has also a Nunziata, in the Malvezzi museum, a picture displaying ancient design, but well finished and of soft colouring.

His best piece was a history in fresco, representing the Obsequies of the Virgin, conducted by order of the Card. Bessarion, Bolognese legate, at S.

Maria del Monte, in 1450; a work much admired by Crespi, in whose time it was destroyed. From similar facts, added to the commendations bestowed on Gala.s.so by Leandro Alberti, I conclude that he must have obtained much reputation in the above city. He died in his native place, in what precise year is uncertain. Vasari treats of him at length in his first edition, but in the second he is dismissed with a few lines. Hence the Ferrarese also have directed against him the same complaints as the other schools.

In the time of Gala.s.so flourished Antonio da Ferrara, a disciple of the Florentines. Vasari bestows on him a short eulogy, among the pupils of Angiolo Gaddi; observing that he "produced many fine works at S. Francesco d'Urbino, and at Citta di Castello." Treating too of Timoteo della Vite, born at Urbino, the son of Calliope, daughter of Mastro Antonio Alberto da Ferrara, he adds, that this last artist was "a very fair painter for his age, such as his works at Urbino and elsewhere declare him." Nothing undoubted now remains of him; if, indeed, a picture on gold ground in the sacristy at S. Bartolommeo, representing the Acts of the holy Apostle, with others of the Baptist, in small figures, is not from his hand. The work doubtless belongs to that age; bearing much resemblance to Angiolo, with colours even more soft and warm. In Ferrara he left nothing that now survives; the chambers which he painted for Alberto d'Este, marquis of Ferrara, in his palace, afterwards changed into a public studio, being destroyed. This work was conducted about 1438, when the general council for the reunion of the Greeks was opened at Ferrara, in the presence of Pope Eugenius IV., and John Paleologus, the emperor. The Marquis ordered Antonio to represent this grand a.s.sembly on different walls, with the likenesses of full size of the princ.i.p.al personages then present. In other apartments he exhibited the Glory of the Blessed, which conferred on that place the name it still bears, of the Palace of Paradise. From a few relics of this work it may with certainty be deduced, that this artist displayed greater beauty in his heads, more softness of colouring, more variety in the att.i.tude of his figures, than Gala.s.so. Orlandi calls him Antonio da Ferrara, adding, that he flourished about the year 1500; a term of life too protracted for us to venture here to confirm.

Towards the middle of the fifteenth century appeared Bartolommeo Vaccarini, whose paintings, signed with the artist's name, Baruffaldi declares that he himself had seen. There was also Oliviero da S. Giovanni, a fresco painter, whose Madonnas were then by no means rare in the city. To these we may add Ettore Bonacossa, painter of that holy image of our Lady called del Duomo, which not long ago was solemnly crowned, at the foot of which is read the name of Ettore, and the year 1448. Still they were only artists of mediocrity; but others attained greater celebrity, having modernized their style in some degree, after the example, as I incline to think, of two foreigners. One of these was Pier della Francesca, invited to Ferrara to paint in the palace of Schivanoia by Niccolo d'Este, as it is conjectured in a note to Baruffaldi. Surprised by sickness, he was unable to complete the work, but he painted there a few apartments, which yet remain as a model for young artists. The other was Squarcione, who also, in the days of Niccolo d'Este and his son Borso, opened a school in Padua; whose manner had followers without number throughout Italy, and must have influenced the Ferrarese artists; distant, perhaps, two days' journey from Padua.

Possessing such means appeared Cosimo Tura, whom Vasari and other historians term Cosme, and give him as pupil to Gala.s.so. He was court-painter in the time of Borso d'Este and t.i.to Strozzi, who left a poetic eulogy upon him. His style is dry and humble, as was customary in that age, still far removed from true dignity and softness. The figures are treated in the style of Mantegna, the muscles clearly expressed, the architecture drawn with care, the ba.s.si-relievi highly ornamented, and laboured in the most minute and exact taste. This is remarkable in his miniatures, which are pointed out to foreigners in the choral books of the cathedral and the Certosa, as extreme rarities. Nor does he vary in his oil paintings; as in his Presepio, in the sacristy of the cathedral; the Acts of S. Eustace, in the monastery of S. Guglielmo; various Saints surrounding the Virgin, in the church of S. Giovanni. In his larger figures he is not so much commended; though Baruffaldi speaks highly of his works in fresco, in the forementioned palace of Schivanoia. The design was distributed into twelve compartments, in a grand hall; and it might well be ent.i.tled a small poetic series, representing the exploits of Borso. In each picture was included a month in the year, which was scientifically indicated with astronomical symbols and cla.s.sical deities, adapted to each; an idea very probably borrowed from the saloon at Padua. In each month, too, was introduced the prince in his usual employment at such season; in the judgment-hall, in the chase, at spectacles, with great variety of circ.u.mstances, and full of poetry in the execution.

There was also an artist of considerable merit named Stefano da Ferrara, pupil to Squarcione, and recorded by Vasari, in the life of Mantegna, as a painter of few pieces, among which were the Miracles of S. Antonio painted round the ark. Though Vasari describes his works only as tolerable, it must be observed that he was considerably above mediocrity, at least in the smaller figures; since Michele Savonarola (de Laud. Patavii, 1. i.) says of the specimens before mentioned, that they seemed to move, while the dignity and importance of the place in which he painted conveys a high idea of his reputation. This work is lost; but there remains in the same temple a half-figure of the Virgin, which Vasari attributes to Stefano; and in the church of the Madonnina at Ferrara is one of his altar-pieces of S. Rocco, in a good manner. Baruffaldi supposes that he flourished till about 1500, when he found mention of the death of one Stefano Falsagalloni, a painter; an age very likely to be correct, when speaking of a contemporary of Mantegna. On the other side, there is cited an altar-piece at S. Maria in Vado, executed in 1531, but which might possibly come from the hand of another Stefano.

However it be respecting this epoch, certain it is, that towards the beginning of the sixteenth century Ferrara was in no want of celebrated artists; since Vasari, as we have observed in the Bolognese School, affirms that Gio. Bentivoglio caused his palace to be decorated "by various Ferrarese masters," besides those of Modena and of Bologna. Among these he included Francia, on whom, about 1490, he confers the name of "a new painter." In the list of artists of Ferrara I included Lorenzo Costa; and from the circ.u.mstance of Francia being then a "new painter," and other reasons, I drew an argument against the received opinion that Costa was the pupil of Francia; which, therefore, I shall not here repeat. I must not, however, omit other information respecting him, as connected with Ferrara, where he resided before coming into notice at Bologna. At court, as well as for private individuals, he there conducted pictures and portraits, with other works "held in much esteem;" and at the Padri di S. Domenico he painted the whole choir, now long since destroyed; where "we recognise the care which he used in the art, and how much study he bestowed upon his works." These, I believe, and other pieces conducted at Ravenna, acquired him reputation at Bologna, and disposed the Bentivogli to avail themselves of his talents.

It remains to discover on which of the Ferrarese artists who attended him, such commission was conferred. Cosme and Stefano were then living; but it is known that more closely connected than these with the Bentivogli, was Cossa of Ferrara, a painter almost forgotten in his native place, from having resided so long at Bologna. Some of his pieces are still there, consisting of Madonnas, seated between saints and angels, with tolerably good architecture. One of these, bearing his name, and date of 1474, is now in the Inst.i.tute, vulgar in point of features and but middling in colouring. This, however, is not his best specimen, there being two portraits of the Bentivogli, (one at the church of the Baracano, the other in the Merchants' palace,) from which I should conjecture that he is one of those artists of whom we are in search. Nor, at this time, is there any other Ferrarese artist whom I can add to him, besides Balda.s.sare Estense, some of whose pictures, signed by himself, are cited by Baruffaldi; and in museums are some of his medals, two, more particularly, in honour of Ercole d'Este, Duke of Ferrara, very ably executed in the year 1472.

On the subject of first rate artists I am often constrained to introduce notices in different places; in particular, when they were employed in some cities, and in others became heads of schools. Such was Costa in respect to Ferrara. He formed pupils for other schools; as one Gio. Borghese, from Messina, and a Nicoluccio Calabrese, who, apprehending that he was caricatured in one of Costa's productions, fiercely a.s.saulted, and almost despatched him with his dagger. I pa.s.s over others ascribed to him by Orlandi, Bottari, and Baruffaldi; in which they are mistaken, as I remarked in the School of Bologna, when treating of Francia. The Ferrarese const.i.tute his real honour; Costa being here what Bellini was at Venice, and Francia at Bologna, the founder of a great school, and a public teacher. Some of his pupils competed with the best artists of the fourteenth century; and part approached the splendor of the golden age. We shall review the whole series, which, commencing at this period, and continuing to the following epoch, gives him a claim to a primary station among the masters of Italy. All his disciples became excellent designers and n.o.ble colourists, transmitting both these qualities to their successors. Their tints exhibit a peculiar kind of strength, or, as a great connoisseur used to express it, of fire and ardour, which often serves to characterize them in collections; a quality not so much derived from Costa as from some other masters.

Ercole Grandi, called by Vasari, in his life, Ercole da Ferrara, became an abler designer than his master Costa, and is greatly preferred to him by the historian. Such too I believe to have been the public opinion from the period when Grandi was employed with Costa at Bologna, in preference to whom he was invited to different places to paint alone. But his affection for his master, and his own modesty, led him to reject every advantageous offer; so that when Costa went to Mantua, he would have followed, had he been permitted so to do. Lorenzo, however, could no longer brook a disciple who already surpa.s.sed him; owing to which, and the necessity of completing the painting he had begun in the Garganelli chapel at St. Peter's, he left Grandi in his stead at Bologna. Ercole there produced a work which Albano p.r.o.nounced equal to Mantegna, to Pietro Perugino, or any artist who professed the modern antique style; nor perhaps did any boast a touch altogether so soft, harmonious, and refined. He painted to advance the art, and spared neither time nor expense to attain his object, employing seven years on his fresco histories at St. Peter's; and five more in retouching them when dry. This was only at occasional intervals, employing himself at the same period in other works, sometimes at, and sometimes out of Bologna.

He would even have continued to render his work more perfect, had it not been for the jealousy of some artists in the city, who nightly robbed him of his designs and cartoons, which so greatly incensed him that he abandoned his labours, and Bologna itself. Such is the account of Baruffaldi, and it agrees with the invidious character of certain artists of that period, drawn by Vasari, who in this respect also drew down upon himself the indignation of Malvasia.

In the chapel of Garganelli Ercole painted, on one side, the Death of the Virgin, and on the other the Crucifixion of Christ; nor did he produce in such a variety any one head like another. He also added a novelty in his draperies, a knowledge of foreshortening, an expression of pa.s.sionate grief, "such," says Vasari, "as can scarcely be conceived." The soldiers "are finely executed, with the most natural and appropriate action that any figures up to that time had displayed." Many years ago, when this chapel was taken down, as much as possible of Ercole's painting was preserved, and placed in the wall of the Tanara palace, where it may still be seen. It is indeed his masterpiece, and one of the most excellent that appeared in Italy during his times, in which the artist seemed to have revived the example of Isocrates, who devoted so many years to the polish of his celebrated panegyric. There is little else of his remaining at Bologna; but at S. Paolo in Ferrara is a genuine altar-piece, and nothing more in public. Some other of his works are preserved in the church of Porto in Ravenna, and some pictures in the public palace at Cesena. He has some specimens in foreign galleries; two of his pictures are at Dresden, a few others at Rome and Florence; though frequently his name has been usurped by that of another painter, Ercole not having enjoyed the celebrity which he deserved. Thus his picture of the Woman taken in Adultery, used to be pointed out in the Pitti palace for a work of Mantegna. For the rest, his paintings are extremely rare, as he did not survive beyond his fortieth year, during which period he painted with the caution of a modest scholar, more than with the freedom of a master.

Lodovico Mazzolini is not to be confounded with the Mazzolino mentioned by Lomazzo in his "Idea of the Temple or Theatre of Painting;" thus ent.i.tling Francesco Mazzuola, as if in sport. Mazzolini of Ferrara was transformed by Vasari into Malini, by a Florentine writer into Marzolini, and by others divided into two, so as to become a duplicate, and answer for two painters--one Malini, another Mazzolini; both of Ferrara, and pupils to the same Costa. To crown his misfortunes, he was not sufficiently known to Baruffaldi himself, who described him as "no despicable scholar of Costa,"

having probably seen only some of his more feeble efforts. He did not excel in large figures, but possessed very rare merit in those on a smaller scale. At S. Francesco in Bologna is one of his altar-pieces, the Child Jesus disputing in the Temple; to which is added a small history of his birth. It was admired by Balda.s.sare da Siena; and Lamo, in his MS. often before cited, describes it as an excellent production; but this piece was retouched by Cesi. Other little pictures, and among these the duplicates of his histories already recorded, are to be seen at Rome in the Aldobrandini gallery, presented, perhaps, as a legacy by the Cardinal Alessandro, who in Mazzolini's time was legate at Ferrara. Other pieces are at the Campidoglio, formerly belonging to Card. Pio, as I gather from a note of Mons. Bottari. From such specimens, in considerable number and genuine, we may form an idea of Mazzolini's manner, which Baruffaldi laments should continue to be one nearly unknown to the dilettanti. It displays an incredible degree of finish; sometimes appearing in his smallest pictures like miniature; while not only the figures, but the landscape, the architecture, and the ba.s.si-relievi, are most carefully executed. There is a spirit and clearness in his heads, to which few of his contemporaries could attain; though they are wholly taken from life, and not remarkably select; in particular those of his old men, which in the wrinkles and the nose sometimes border on caricature. The colour is of a deep tone, in the style before mentioned; not so soft as that of Ercole; with the addition of some gilding even in the drapery, but sparingly applied. In some collections his name has been confounded with that of Gaudenzio Ferrari, perhaps derived by mistake from Lodovico da Ferrara. Thus, in the royal gallery at Florence, a little picture of the Virgin and Holy Child, to whom S. Anna is seen presenting fruits, with figures of S. Giovacchino and another saint, has been attributed to Ferrari. But it is the work of Mazzolini, if I do not deceive myself, after the comparison made with others examined at Rome.

From the resemblance of his style to Costa, and even superior in the heads, it is conjectured that Michele Coltellini sprung from the same school. Some specimens of his works are recorded in the church and convent of the PP.

Agostiniani of Lombardy, two of which yet remain in existence; one an altar-piece at the church, in the usual composition of the fourteenth century, and in the refectory a S. Monica with four female saints belonging to that order. The date inscribed, together with his name, on an altar-piece, informs us that he was still living in the year 1517. It is uncertain in what school Domenico Panetti received his education; but I know that his works, during several years, appear only feeble efforts. His former pupil, Garofolo, however, returning subsequently from Rome, after acquiring the new style under Raffaello, he received his old master, Panetti, as a pupil, and so greatly improved him as to render his latter works worthy of compet.i.tion with the best masters of the fourteenth century. Such is his St. Andrew, at the Agostiniani, just before recorded, in which he displays not only accuracy, but, what is far more rare for his times, a dignified and majestic manner. The artist's name, which is affixed, with several other works conducted in the same taste (one of which is now seen in Dresden) bear evidence of a change in pictoric character without example. Gio. Bellini and Pietro Perugino, indeed, improved themselves upon the models of their disciples, but they had previously attained the rank of eminent masters, which cannot be averred of Panetti.

Vasari relates that Garofolo was pupil to Domenico Lanero, in Ferrara; an error resembling that of Orlandi, who terms him Lanetti, and all these are the same individual Domenico Panetti. He flourished some years during the sixteenth century, in the same manner as the two Codi, and the three Cotignoli, who though belonging to lower Romagna, having flourished abroad, have been included in the school of Bologna, or in its adjacent places. A few others, known only by their names, such as Alessandro Carpi, or Cesare Testa, may be sought for in the work of Cittadella.

SCHOOL OF FERRARA.

EPOCH II.

_Artists of Ferrara, from the time of Alfonso I. till Alfonso II., last of the Este family in Ferrara, who emulate the best Italian styles._

The most flourishing epoch of the Ferrarese School dates its commencement from the first decades of the sixteenth century. It traces its source to two brothers named Dossi, and to Benvenuto da Garofolo, or, more correctly perhaps, to Duke Alfonso d'Este, who employed them in his service, so as to retain them in their native place, where they might form pupils worthy of themselves. This prince, whose memory has been embalmed by so many distinguished poets, was peculiarly attached to the fine arts. In his court t.i.tian painted, and Ariosto conferred with him upon the subjects of his pencil, as we learn from Ridolfi in the life of t.i.tian himself. This was subsequent to the year 1514, when Gian Bellini, already old, left in an unfinished state his n.o.ble work of the Baccha.n.a.ls, which has long decorated the Aldobrandini gallery at Rome; and when t.i.tian was called upon to complete it. He likewise conducted various paintings in fresco, which still remain in a small chamber, in the palace of Ferrara; besides others in oil, such as portraits of the duke and d.u.c.h.ess, and his celebrated Cristo della Moneta, which we have extolled for one of his most studied productions.

Pellegrino da S. Danielle, another pupil of Gian Bellini, but not to compare with t.i.tian, though not inferior to many of the same school, was retained and honoured by the same court, where he left a few works,[58] of which there remains no account, or confounded, perhaps, with those of Dosso, an artist of much celebrity, and of various styles, at the same court, as we now proceed to shew.

Footnote 58: See Renaldis, p. 20.