BOOK IV.

SCHOOL OF FERRARA.

EPOCH I.

_The Ancients._

Ferrara, once the capital of a small principality 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 illustrious 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 classical 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 classic 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 surpass 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 illustrated 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 Galasso, 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 noble 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 entitled 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, passed 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 ambassador 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 Galasso Galassi, 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 Galasso's pictures, mentioned by us in the church of Mezzaratta at Bologna, and obvious to all. They consist of histories of the Passion, 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 assured 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 Galasso 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 Galasso 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 Città 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 assembly on different walls, with the likenesses of full size of the principal 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 attitude of his figures, than Galasso. 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 Cosmè, and give him as pupil to Galasso. He was court-painter in the time of Borso d'Este and Tito 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 bassi-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 entitled 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 classical 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 circumstances, 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 circumstance 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. Cosmè 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 Institute, 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 Baldassare 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 assaulted, and almost despatched him with his dagger. I pass 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 constitute 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 noble 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 surpassed 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 pronounced 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 passionate 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 entitling 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 Baldassare 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 bassi-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 competition 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 Titian painted, and Ariosto conferred with him upon the subjects of his pencil, as we learn from Ridolfi in the life of Titian himself. This was subsequent to the year 1514, when Gian Bellini, already old, left in an unfinished state his noble work of the Bacchanals, which has long decorated the Aldobrandini gallery at Rome; and when Titian 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 duchess, 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 Titian, 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.

Assisted by such models, the talents of Dosso Dossi, and of his brother, Gio. Batista, born at Dosso, a place near Ferrara, may have been considerably improved. They were, first, pupils to Costa, and afterwards, says Baruffaldi, resided six years at Rome, and five in Venice, devoting themselves to the study of the best masters, and drawing portraits from life. By such means they formed their peculiar character, but of different kinds. Dosso succeeded admirably in figures, while Gio. Batista was perhaps below mediocrity. Still he aimed at them; sometimes even in spite of his brother's remonstrances, with whom he lived at continual variance, though unable to separate from him by command of the prince who gave him as his brother's assistant. He was thus like a slave at the oar, ever drudging against his will; and when obliged to consult respecting their common labours, he wrote what suggested itself, refusing to communicate by word of mouth. Envious and spiteful in his mind, he was equally deformed in person, expressing as it were the picture of his internal malignity. His real talent lay in ornamenting, and still more in landscape, a branch in which, according to Lomazzo, he was inferior neither to Lotto, to Gaudenzio, to Giorgione, nor to Titian. There remain some specimens of his friezes in the palace of the Legation, and in still better preservation some works noticed by Baruffaldi at the villa of Belriguardo.

The two brothers obtained constant employment at Alfonso's court, and subsequently from Ercole II. They, likewise, composed the cartoons for the tapestries at the cathedral of Ferrara, and for those which are in Modena, part at S. Francesco and part at the ducal palace, representing various exploits of the Esti. How far Vasari may be entitled to credit in his account of Ercole's invitation of Pordenone to compose cartoons for his tapestries, there being no good figurists at Ferrara for "themes of war," it is difficult to decide. He adds, that Pordenone died there, shortly after his arrival, in 1540, as was reported, by poison. This assertion, by no means flattering to the Dossi who then flourished, has not been noticed, I believe, by any Ferrarese writers, who else would, doubtless, have defended their reputation by citing the exploits of arms figured in a variety of tapestries. On other points, indeed, this has been done, particularly in regard to their paintings, which decorated a chamber of the Imperiale, a villa belonging to the dukes of Urbino. It is observed by Vasari, that "the work was conducted in an absurd style, and they departed from the Duke Francesco Maria's court in disgrace, who was compelled to destroy all they had executed, and cause the whole to be repainted from designs by Genga." The answer made to this is, that the destruction of that work was owing to the jealousy of their competitors, and still more "to the policy of that prince, who did not wish his artists of Urbino surpassed by those of Ferrara." These are the words of Valesio, from Malvasia, (vol. ii. p. 150) though I believe that too much deference was paid to Valesio in adopting such an excuse; as it seems inconsistent with the judgment and taste of the prince to suppose him capable of this species of barbarism, and from the motive which is adduced. I rather apprehend that the work must have failed by the fault of Gio. Batista, who, dissatisfied with his allotted grotesques and landscapes, insisted on shining as a figurist. There is a similar example in a court-yard of Ferrara, where he inserted some figures against Dosso's wishes, and acquitted himself ill. For the rest, a much better defence of their talents was made by Ariosto. For he not merely availed himself of Dosso's talents to draw his own portrait, and the arguments to the cantos of his Furioso, but has immortalized both his and his brother's name, along with the most eminent Italian painters when he wrote, "Leonardo, Andrea Mantegna, e Gian Bellino, Duo Dossi;" names which are followed by those of Michelangiolo, Raffaello, Tiziano, and Sebastiano del Piombo. Such commendation was not a mere tribute to friendship, but to Dosso's merit, always highly extolled likewise by foreigners. His most distinguished works are now perhaps at Dresden, which boasts seven of them, and in particular the altar-piece of the four Doctors of the Church, one of his most celebrated pieces. His St. John in Patmos is at the Lateranensi in Ferrara; the head, free from any retouching, is a masterpiece of expression, and acknowledged by Cochin himself to be highly Raffaellesque. But his most admired production was at the Domenicani of Faenza, where there is now a copy, the original having been removed on account of its decay. It exhibits Christ disputing among the doctors; the attitudes so naturally expressive of surprise, and the features and draperies so well varied, as to appear admirable even in the copy. There is a little picture on the same subject in the Campidoglio, formerly belonging to Card. Pio of Ferrara, full of life, polish, and coloured with most tasteful and mellow tints. By the same hand I have seen several "Conversazioni" in the Casa Sampieri at Bologna, and a few Holy Families in other collections, one in possession of Sig. Cav. Acqua at Osimo. In pictoric works I sometimes find him compared with Raffaello, sometimes with Titian or Coreggio; and certainly he has the gracefulness, the tints, and chiaroscuro of a great master. He retains, however, more of the old style than these artists, and boasts a design and drapery which attract the spectator by their novelty. And in some of his more laboured pieces he adds to this novelty by a variety and warmth of colours which nevertheless does not seem to diminish their union and harmony.

Dosso survived Gio. Batista some years, during which he continued to paint, and to form pupils, until infirmity and old age compelled him to desist. The productions of this school are recognised in Ferrara by their resemblance of style; and from their great number it is conjectured that the Dossi directed the works, while their assistants and disciples executed them. Few of these however are known, and among them one Evangelista Dossi, who has nothing to recommend him but his name, and whose works Scannelli did not care to point out to posterity. Jacopo Pannicciati, by birth a noble, is mentioned by historians as a first rate imitator of the Dossi, though he painted little, and died young, about the year 1540. Niccolo Rosselli, much employed at Ferrara, has been supposed to belong to this school, from his resemblance in some pictures to Dosso, particularly in that of Christ with two angels, on an altar of the Battuti Bianchi. But in his twelve altar-pieces at the Certosa, he imitated also Benvenuto and Bagnacavallo, with several other artists. His school, then, must remain uncertain; the more so as his composition, so very laboured, soft, and minute, with reddish tints like those of crayons, leaves it even doubtful whether he studied at Ferrara at all. The same taste was displayed by Leonardo Brescia, more a merchant than a painter; from which some have supposed him Roselli's pupil.

Better known than these is the name of Caligarino, in other words the little shoe-maker, a title derived from his first profession. His real name was Gabriel Cappellini; and one of the Dossi having said, in praise of a pair of shoes made by him, that they seemed to be painted, he took the hint and relinquished his awl to embrace his new profession. The old Guide of Ferrara extols his bold design and the strength of his colours. The best that now remains is his picture of the Virgin between two Saints John, at S. Giovannino; the ground of which has been retouched, or rather spoiled. An altar-piece, in good preservation, is also ascribed to him in S. Alessandro, at Bergamo, representing our Lord's Supper. The manner partakes in some degree of that of the fourteenth century, though very exact and boasting good tints. In time, however, he approached nearer to the moderns, as we gather from another Holy Supper, a small picture in possession of Count Carrara. This new style has led to the supposition that he was pupil to Paul Veronese, which it is difficult to believe respecting an artist who was already employed in his art as early as 1520.

Gio. Francesco Surchi, called Dielai, was pupil and assistant to the Dossi, when employed in painting at Belriguardo, at Belvedere, at the Giovecca, and at Cepario, in which palaces they gave the most distinguished proofs of their merit. Thus instructed by both brothers, he became perhaps the most eminent figurist among his fellow-pupils, and beyond question the best ornamental painter. He left few specimens in the second branch, but many in the first. In rapidity, vivacity, and grace in his figures, he approaches Dosso, and in a similar manner in his easy and natural mode of draping. In the warmth of his colouring, and in his strong lights, he even aimed at surpassing him; but, like most young artists who carry to excess the maxims of their schools, he became crude and inharmonious, at least in some of his works. Two of his Nativities at Ferrara are highly extolled, one at the Benedettini, the other at S. Giovannino, to which last is added the portrait of Ippolito Riminaldi, a distinguished civilian of his age. Writers are divided in opinion respecting the comparative excellence of these two altar-pieces, but they agree in awarding great merit to both.

We proceed to treat of Benvenuto, another great luminary of this school; and we must first premise that there are some mistakes as to his name, which has often betrayed our dilettanti into errors. Besides Benvenuto Tisio, surnamed from his country Garofolo, there flourished at the same period Gio. Batista Benvenuti, by some said to have been also a native of Garofolo, and from his father's occupation denominated Ortolano, the gardener. Now, by many, he has been confounded with Tisio, both from resemblance of name and taste, so far as to have had even his portrait mistaken for the former, and as such inserted in Vasari's edition that appeared at Bologna. There Ortolano had pursued his studies about 1512, from the works of Raffaello, which were few, and from those of Bagnacavallo, whose style he afterwards emulated in some pictures. Leaving that place sooner than he had intended, owing to an act of homicide, he never attained to a complete imitation of Raffaello. But he excelled in his taste for design and perspective, united to more robust colouring, observes Baruffaldi, than what we see in Raffaello himself, and it is habitual in this school during nearly the whole of the sixteenth century. Several of his altar-pieces have been transferred into the Roman galleries, where in the present day they are attributed, I believe, to Tisio, whose first manner, being more careful than soft and tasteful, may easily be mistaken for that of Ortolano. There are others at Ferrara, both in public and private, and one in the usual old style of composition at S. Niccolo, with the date affixed of 1520. In the parochial church of Bondeno there is another, which is extolled by Scannelli (p. 319), in which are represented the Saints Sebastian and Rocco, and Demetrius, who, in military dress, is seen leaning on the hilt of his sword, absorbed in thought; the whole attitude so picturesque and real as at once to attract the eye of the beholder.

We cannot be surprised that his name should have been eclipsed by Tisio, an artist deservedly extolled as the most eminent among Ferrarese painters. Of him we have treated rather at length in the Roman School, both as occupying a high station in the list of Raffaello's pupils, and as the one most frequently met with in the Roman collections. We have a little before mentioned Benvenuto's first education under Panetti, from whose school he went to Cremona, under Niccolo Soriani, his maternal uncle, and next under Boccaccio Boccacci. On Niccolo's death, in 1499, he fled from Cremona, and first resided during fifteen months in Rome, with Gian Baldini, a Florentine. Thence he travelled through various Italian cities, remained two years with Costa in Mantua, and then returning for a short space to Ferrara, finally proceeded back to Rome. These circumstances I here give, on account of a number of Benvenuto's works being met with in Ferrara and elsewhere, which partake little or nothing of the Roman style, though not excluded as apocryphal, as they are attributed to his earlier age. After remaining a few years with Raffaello, his domestic affairs recalled him to Ferrara; having arranged these, he prepared to return to Rome, where his great master anxiously awaited him, according to Vasari, in order to accomplish him in the art of design. But the solicitations of Panetti, and still more, the commissions of Duke Alfonso, retained him in his native place, engaged with the Dossi in immense undertakings at Belriguardo and other places. It is observed by Baruffaldi, that the degree of Raffaellesque taste to be traced in the two brothers' works, is to be attributed to Tisio. He conducted a great number of other paintings, both in fresco and in oil.

His most happy period dates from 1519, when he painted in S. Francesco the Slaughter of the Innocents; availing himself of earthen models, and copying draperies, landscape, and in short every thing from the life. In the same church is his Resurrection of Lazarus, and his celebrated Taking of Christ, commenced in 1520, and finished in 1524. No better works appeared from his hand, nor better composed, more animated, conducted with more care and softness of colouring. There only remains some trace of the fourteenth century, in point of design; and some little affectation of grace, if the opinion of Vasari be correct. The district formerly abounded with similar specimens of his in fresco; and they are also met with in private, as that frieze in a chamber of the Seminary, which in point of grace and Raffaellesque taste is well deserving of being engraved. Many of his works, also, in oil remain, exhibited here and there throughout the churches and collections of Ferrara; at once so many and so beautiful as alone to suffice for the decoration of a city. His St. Peter Martyr was more particularly admired by Vasari; a picture ornamenting the Dominicans, remarkable for its force, which some professors have supposed to have been painted in competition with St. Peter Martyr, by Titian; and in case of its loss to have been able to supply its place. His Helen, too, a picture of a more elegant character, at the same place, is greatly admired; this gracefulness forming one of Benvenuto's most peculiar gifts. And, indeed, not a few of his Madonnas, his Virgins, and his boys, which he painted in his softer manner, have occasionally been mistaken for Raffaello's. His picture of the Princes Corsini deceived good judges, as we are informed by Bottari; and the same might have happened with the portrait of the Duke of Modena, and others scattered through the Roman galleries, where are many of his pieces on a large scale, particularly in the Chigi palace. All these must be kept in view, in forming an estimate of Garofolo. His little pictures, consisting of scriptural histories, are very abundant in different cabinets, (Prince Borghesi himself being in possession of about forty) and although they bear his mark, a gilly-flower or violet, they were, I suspect, merely the production of his leisure hours. Those without such impress are frequently works of Panelli, who was employed along with him; often copies or repetitions by his pupils, who must have been numerous during so long a period. Baruffaldi gives him Gio. Francesco Dianti, of whom he mentions an altar-piece at the Madonnina, in the style of Garofolo, and his tomb, also at the same place, with the date of his decease in 1576. Batista Griffi and Bernardin Flori, known only by some ancient legal instrument belonging to the period of 1520, do not seem to have surpassed mediocrity; which is also remarked by Vasari of all the others who sprung from the same school. We may except a third, mentioned in the same legal act, and this was Carpi, of whom I shall now proceed to treat.

It is uncertain whether the proper title of Girolamo be da Carpi, as stated by Vasari, or de' Carpi, as is supposed by Superbi; questions wholly frivolous, inasmuch as his friend Vasari did not call him a native of Carpi, but of Ferrara; and Giraldi, in the edition of his _Orbecche_ and of his _Egle_, premised that the painter of the scene was Mes. Girolamo Carpi, from Ferrara. And in this city he was instructed by Garofolo, whose young attendant, in the parchment before cited, he is said to have been in 1520. He afterwards went to Bologna, where he was a good deal employed in portrait painting; until happening to meet with a small picture by Coreggio, he became attached to that style, copying every piece he could meet with, both at Modena and Parma, by the same hand. From Vasari's account we are to conclude that he was never acquainted with Coreggio, Raffaello, and Parmigianino, whatever other writers may have said. It is true he imitated them; and from the latter, more particularly, he derived those very gracefully clasped and fringed garments; and those airs of heads, which, however, appear rather more solid and less attractive. On removing to Bologna, in addition to what he conducted in company with Pupini, he singly executed a Madonna with S. Rocco and other saints, for S. Salvatore; and an Epiphany, with smaller figures, full of grace, and partaking of the best Roman and Lombard manner, for the church of S. Martino. Returning at length to Ferrara, he conducted, along with his master, several pictures in fresco, particularly in the ducal Palazzina, and in the church of the Olivetani, where Baruffaldi clearly recognised his style, invariably more loaded with shadow than that of Benvenuto. In 1534 he himself represented, in a loggia of the ducal palace of Copario, the sixteen princes of Este; twelve of whom with the title of marquis, the rest as dukes, had swayed the sceptre of Ferrara. The last was Ercole II., who committed that work to Girolamo, honourable to him for the animation and propriety of the portraits, for the decoration of the termini, of the landscape, and of the perspective, with which he adorned that loggia. Titian himself had raised Carpi in that prince's consideration; not at the time when he came to Ferrara to continue the work of Bellini, since Girolamo was then only a child, but when he returned at another period; and this I mention in order to correct one of Vasari's mistaken dates.

His altar-pieces in oil are extremely rare; the Pentecost at S. Francesco di Rovigo, and the S. Antonio at S. Maria in Vado di Ferrara, are the most copious, and perhaps the most celebrated which he produced. He was employed also for collections, mostly on tender and graceful subjects; but there too he is rarely to be met with. His diligence, the commissions of his sovereigns, the study of architecture, a profession in which he served Pope Julius III. and Duke Ercole II., his brief career, all prevented him from leaving many productions for the ornament of cabinets. In his style of figures he had no successors: in the art of decorating with feigned bassi-relievi, colonnades, cornices, niches, and similar architectural labours, he was rivalled by Bartolommeo Faccini, who in that manner embellished the grand court-yard of the palace. He afterwards painted there, as Carpi had done elsewhere, the Princes of Este, or more correctly, placed in the niches a bronze statue of each of them; in constructing which work he fell from the scaffolding, and died in 1577. He was assisted in the same labour by his brother Girolamo, by Ippolito Casoli, and Girolamo Grassaleoni, all of whom continued to serve their native place in quality of ornamental painters.

Whilst Benvenuto and Girolamo were thus bent on displaying all the attractions of the art, there was rising into notice, from the school of Michelangiolo at Rome, one who aspired only to the bold and terrible; a character not much known to the artists of Ferrara up to that period. His name was Bastiano Filippi, familiarly called Bastianino, and surnamed _Gratella_,[59] from his custom of covering large pictures with crossed lines, in order to reduce them with exactness to a small scale; which he acquired from Michelangiolo, and was the first to introduce into Ferrara. He was son to Camillo, an artist of uncertain school, but who, in the opinion of Bononi, "painted with neatness and clearness, as in his Annunziata at S. Maria in Vado;" in the ground of which is a half-figure of St. Paul, which leads to the conjecture, that Camillo aspired to the style of Michelangiolo. It would seem, therefore, that Bastiano imbibed from his father his ardent attachment to that style, on account of which he secretly withdrew from his father's house, and went to Rome, where he became one of the most indefatigable copyists and a favourite disciple of Bonarruoti. How greatly he improved may be seen in his picture of the Last Judgment at Ferrara, completed in three years, in the choir of the Metropolitana; a work so nearly approaching Michelangiolo that the whole Florentine School can boast nothing of the kind. It displays grand design, great variety of figures, fine grouping, and very pleasing repose. It seems incredible that, in a theme already treated by Michelangiolo, Filippi should have succeeded in producing such novel and grand effect. Like all true imitators, he evidently aimed at copying the genius and spirit, not the figures of his model. He abused the occasion here afforded him, like Dante and Michelangiolo, to gratify his friends by placing them among the elect, and to revenge himself on those who had offended him, by giving their portraits in the group of the damned. On this unhappy list, too, he placed a young lady who had broken her vows to him; elevating among the blessed, in her stead, a more faithful young woman whom he married, and representing the latter in the act of gazing on her rival with looks of scorn. Baruffaldi and other Ferrarese prefer this painting before that of the Sistine chapel, in point of grace and colouring; concerning which, the piece having been retouched, we can form no certain opinion. There is, moreover, the testimony of Barotti, the describer of the Ferrarese paintings, who, at page 40, complains, that "while formerly those figures appeared like living flesh, they now seem of wood." But other proofs of Filippi's colouring are not wanting at Ferrara; where, in many of his untouched pictures, he appears to much advantage; except that in his fleshes he was greatly addicted to a sun-burnt colour; and often, for the union of his colours, he overshadowed in a peculiar taste the whole of his painting.

Footnote 59: Gratella, literally a gridiron, or lattice-work.

Besides this, his masterpiece, Filippi produced a great number of other pictures at Ferrara, in whose Guide he is more frequently mentioned than any artist, except Scarsellino. Where he represented naked figures, as in his grand S. Cristofano at the Certosa, he adhered to Michelangiolo; in his draped figures he followed other models; which is perceptible in that Circumcision in an altar of the cathedral, which might rather be attributed to his father than to him. Being impatient, both in regard to invention and to painting, he often repeated the same things; as he did in one of his Annunciations, reproduced at least seven times, almost invariably with the same ideas. What is worse, if we except the foregoing Judgment, his large altar-piece of St. Catharine, in that church, with a few other public works, he conducted no pieces without losing himself either in one part or other; satisfied with stamping upon each some commanding trait, as if to exhibit himself as a fine but careless painter to the eyes of posterity. There are few of his specimens in collections, but these are more exactly finished. Of these, without counting those of Ferrara, I have seen a Baptism of Christ in Casa Acqua at Osimo, and several copies from Michelangiolo at Rome. Early in life he painted grotesques, but subsequently employed in such labours, Cesare, his younger brother, a very excellent ornamental painter, though feeble in great figures and in histories.

Contemporary with, and rival of Filippi, was Sigismondo Scarsella, popularly called by the Ferrarese Mondino, a name he has ever since retained. Instructed during three years in the school of Paul Veronese, and afterwards remaining for thirteen at Venice, engaged in studying its best models along with the rules of architecture, he at length returned to Ferrara, well practised in the Paolesque style, but at considerable distance as a disciple. If we except his Visitation at S. Croce, fine figures and full of action, we meet with nothing more by him in the last published Guide of Ferrara. The city possesses other of his works, some in private, some retouched in such a manner that they are no more the same, while several are doubtful, and most commonly attributed to his son. This is the celebrated Ippolito, called, in distinction from his father, Lo Scarsellino, by whom singly there are more pictures interspersed throughout those churches, than by many combined artists. After acquiring the first rudiments from Sigismondo, he resided almost six years at Venice, studying the best masters, and in particular Paul Veronese. His fellow-citizens call him the Paul of their school, I suppose on account of his Nativity of the Virgin at Cento, his S. Bruno, in the Ferrarese Certosa, and other paintings more peculiarly Paolesque; but his character is different. He seems the reformer of the paternal taste; his conceptions more beautiful, his tints more attractive; while some believe that he influenced the manner of Sigismondo, and directed him in his career. On comparison with Paul it is clear that his style is derived from that source, but that his own was different, being composed of the Venetian and the Lombard, of native and foreign, the offspring of an intellect well founded in the theory of the art, of a gay and animated fancy, of a hand if not always equal to itself, always prompt, spirited, and rapid. Hence we see a great number of his productions in different cities of Lombardy and Romagna, to say nothing of his native place.

There, his pictures of the Assumption and the Nuptials of Cana, at the Benedettini; the Pietà, and the S. John Beheaded, in that church; with the _Noli me tangere_, at S. Niccolo, are among the most celebrated; also at the Oratorio della Scala, his Pentecost, his Annunciation, and his Epiphany, conducted in competition with the Presentation of Annibal Caracci; of all which there are seen, on a small scale, a number of repetitions or copies in private houses. They are to be met with too at Rome, where Scarsellino's paintings are not rare. Some are at the Campidoglio, and at the palaces of the Albani, Borghesi, Corsini, and in greater number at the Lancellotti. I have sometimes examined them in company with professors who never ceased to extol them. They recognised various imitations of Paul Veronese in the inventions, and the copiousness; of Parmigianino in the lightness and grace of the figures: of Titian in the fleshes, and particularly in a Bacchanal in Casa Albani; of Dossi and Carpi in his strength of colour, in those fiery yellows, in those deep rose-colours, in that bright tinge given also to the clouds and to the air. What sufficiently distinguishes him too, are a few extremely graceful countenances, which he drew from two of his daughters; a light shading which envelopes the whole of his objects without obscuring them, and that slightness of design which borders almost on the dry, in opposition, perhaps, to that of Bastiano Filippi, sometimes reproached with exhibiting coarse and heavy features.

Ippolito's school, according to Baruffaldi, produced no other pupil of merit except Camillo Ricci, a young artist who, Scarsellino declared, would have surpassed himself, and whom, had he appeared a little later, he would have selected for his own master. From a pupil, however, he became Scarsellino's assistant, who instructed him so well in his manner, that the most skilful had difficulty to distinguish him from Ippolito. His style is almost as tender and attractive as his master's, the union of his colours is even more equal, and has more repose, and he is principally distinguished by less freedom of hand, and by his folding, which is less natural and more minute. His fertile invention appears to most advantage in the church of S. Niccolò, whose entablature is divided into eighty-four compartments, the whole painted by Camillo with different histories of the holy bishop. His picture of Margherita, also at the cathedral, is extremely beautiful, and might be referred to Scarsellino himself. His smaller paintings chiefly adorn the noble house of Trotti, which abounds with them; and there too is his own portrait, as large as life, representing Genius naked, seated before his pallet with his pencil in hand, surrounded by musical books, and implements of sculpture and architecture, arts to which he was wholly devoted. Among the pupils of Ippolito, Barotti enumerates also Lana, a native of Codigoro, in the Ferrarese, though I leave him to the state of Modena, where he flourished. Cittadella also mentions Ercole Sarti, called the mute of Ficarolo, a place in the Ferrarese. Instructed by signs he produced for his native place, and at the Quadrella sul Mantovano, some pictures nearly resembling the style of Scarsellino, except that the outline is more marked, and the countenances less beautiful. He was also a good portrait painter, and was employed by the nobility at Ferrara as well as for the churches. There is mentioned, in the Guide, an altar-piece in the sacristy of S. Silvestro, and the author is extolled as a successful imitator both of Scarsellino and of Bononi.

Contemporary with the Filippi and the Scarsellini is Giuseppe Mazzuoli, more commonly called Bastaruolo, or, as it means in Ferrara, the vender of corn, an occupation of his father's, not his own. He is at once a learned, graceful, and correct artist, probably a pupil of Surchi, whom he succeeded in painting for the entablature of the Gesù some histories left unfinished by the death of his predecessor. Mazzuoli was not so well skilled in perspective as in other branches. He injured his rising reputation by designing some figures in too large proportion, owing to which, added to his slowness, he became proverbial among his rivals, and considered by many as an artist of mediocrity. Yet his merit was sufficiently marked, particularly after the formation of his second manner, more elevated in design, as well as more studied in its colouring. The foundation of his taste is drawn from the Dossi; in force of chiaroscuro, and in his heads he would seem to have owed his education to Parma; in the natural colour of his fleshes, more particularly at the extremities, he approaches Titian; and from the Venetians too seem to have been derived those varying tints and golden hues, introduced into his draperies. The church of Gesù contains, besides two medallions of histories, admirably composed, an Annunciation and a Crucifixion, both very beautiful altar-pieces. The Ascension at the Cappuccini, conducted for a princess of the Estense family, is a magnificent piece, while an altar-piece of the titular saint, with half figures of virgins that seem to breathe, at the Zitelle of S. Barbara, is extremely beautiful. Several other pieces, both in public and private, are met with at Ferrara. Mazzuoli was drowned, while bathing for his health, at that place; an artist every way worthy of a better fate, and of being more generally known beyond the limits of his own country.

Domenico Mona (a name thus read by Baruffaldi from his tomb, though by others called Monio, Moni, and Monna,) attached himself to the art after trying many other professions, ecclesiastical, medical, and legal. He possessed great fervour and richness of imagination, learning, and rapidity of hand. Instructed by Bastaruolo, he soon became a painter, and exhibited his pieces in public. But not yet founded in technical rules, monotonous in his heads, hard in his folding, and unfinished in his figures, he was ill adapted to please a city already accustomed to behold the most finished productions at every step, so as no longer to relish any thing like mediocrity or inferiority of hand. Mona then applied with fresh diligence to the art, and corrected, at least, some of his more glaring faults. From that time he was more readily employed by his fellow citizens, though his works were by no means equally approved. Some, however, were good, such as the two Nativities at S. Maria in Vado, one of which represented the Virgin, the other the Divine Child; both displaying a taste of colouring nearly resembling the Florentine of that period, here and there mingled with a Venetian tone. The best of all, however, is his Deposition from the Cross, placed in the Sagrestia Capitolare of the cathedral. A number of others only approach mediocrity, though still pleasing by their spirit, and a general effect which proclaims superior genius. Even his colouring, when he studied it, is calculated to attract by its warmth and vividness, though not very natural. A few of his works are in such bad taste as to have induced his pupil, Jacopo Bambini, out of compassion, to retouch them; and Baruffaldi also notices this singular inequality. For, after greatly extolling his Deposition from the Cross, he adds: "It must surprise the spectator to contrast this with his other pieces, nor can he reconcile how he should possess such capacity, and yet show such indifference for his own fame." All, however, is explained when we know that he was naturally subject to insanity, of which he finally became the victim, and having slain a courtier of the Card. Aldobrandino, he ended his days in banishment from his native place. By some, however, the deed was attributed, not to insanity, but to hatred of the new government; and in fact, so far from acting like a madman, he concealed himself, first in the state, and next at the court of Modena. Finally, he sought refuge in that of Parma, where he is declared to have produced pieces, during a short period, in his best taste. Orlandi calls him Domenico Mora, and has extolled his two large pictures of the Conversion and the Martyrdom of St. Paul, which adorn the presbytery of that church at Ferrara. He moreover adds, that he flourished in 1570, for which date I am inclined to substitute that of 1580, as it is known that he commenced the practice of the art late in life, and died, aged fifty-two years, in 1602.

From his school is supposed to have sprung Gaspero Venturini, who completed his education under Bernardo Castelli, in Genoa. This, however, is mere conjecture, founded on the style of Gaspero, which, in point of colouring, partakes of that ideal taste so pleasing to Castelli, to Vasari, Fontana, Galizia, and others of the same period; nor was Mona himself free from it. Jacopo Bambini, whom we have before commended, and Giulio Cromer, commonly called Croma, were assuredly from the school of Mona, though they acquired little from it. Subsequently they became more correct designers by studying from the naked model in the academy, which they were the first to open at Ferrara, and from the best antiques which they possessed in their native place--an art in which they attained singular excellence. Nor were they destitute of invention; and to Cromer was allotted the honour of painting the Presentation and the Death of the Virgin, at the Scala; a fraternity, which, previous to its suppression, was regarded as a celebrated gallery, decorated by superior artists. Bambini had studied also in Parma, whence he brought back with him a careful and solid style; and, if he sometimes displayed the colouring of Mona, he corrected its hardness, and excluded its capriciousness. This artist was assiduously employed at the Gesù, in Ferrara, and in that at Mantua. Croma was a painter of high reputation, and much inclined to the study of architecture, which he introduces in rather an ostentatious manner in nearly all his pictures. In other respects he more resembles Bambini than Mona, invariably studied, ruddy in his complexions, somewhat loaded in all his tints, and the whole composition sufficiently characteristic to be easily distinguished. He may be well appreciated in his large histories of the saint at St. Andrea, near the chief altar, and in several pictures belonging to the minor altars. Superbi, in his _Apparato_, describes one Gio. Andrea Ghirardoni as an able artist. He left some respectable works, but coloured in a languid, feeble style, with more of the effect of chiaroscuro than of painting. The names of Bagnacavallo, Rossetti, Provenzali da Cento, and others belonging to the Ferrarese state, who properly appertain to this epoch, have been already described under other schools.

SCHOOL OF FERRARA.

EPOCH III.

_The Artists of Ferrara borrow different styles from the Bolognese School.--Decline of the Art, and an Academy instituted in its support._

Such, as just described, was the degree of excellence to which the pictoric art arrived under the Esti, whose dominion over Ferrara terminated in the person of Alfonso II., who died in 1597. These princes beheld nearly all the classic styles of Italy transferred into their own capital by classic imitators, which no other potentates could boast. They had their Raffaello, their Bonarruoti, their Coreggio, their Titian, and their Paul Veronese. Their memory yet affords an example to the world; because, like true citizens of their country, they fostered its genius, the love of letters, and all the arts of design. The change of government occurred in the pontificate of Clement VIII. for whose solemn entry into the place the artists Scarsellino and Mona were employed about the public festivals; being selected as the ablest hands, equal to achieve much in a short space of time. Various other painters were subsequently employed, in particular Bambini and Croma, who were to copy different select altar-pieces of the city, which the court of Rome was desirous of transferring into the capital; leaving the copies only at Ferrara, to the general regret of the Ferrarese historians. Subsequently the Card. Aldobrandini, nephew to the Pope, was there established as legate; a foreigner indeed, but much attached to the fine arts. Like other foreigners, he was more bent upon purchasing the works of old masters, than upon cultivating a genius for painting among the citizens. The same feeling may, for the most part, be supposed to have influenced his successors; since, about 1650, Cattanio, as we read in his life, ascribed the decline of the art to its want of patrons, and induced Card. Pio, a Ferrarese, to allot pensions to young artists, to enable them to study at Bologna and at Rome. But such temporary aids afforded no lasting support to the school, so that if the others of Italy were greatly deteriorated during this last century, that of Ferrara became almost extinct. It may, therefore, boast greater credit for having retrieved itself under less favourable circumstances, and for having continued so long to emulate the most distinguished originals.

About the beginning of the seventeenth century, when the new civil government commenced at Ferrara, a new epoch also occurred in its pictoric school, which I call that of the Caracci. I can furnish no account respecting that Pietro da Ferrara, mentioned by Malvasia, along with Schedone, among the pupils of Lodovico Caracci. I have no where met with his name in any other work. Dismissing him, therefore, I may award the chief station in this epoch to two able artists, who acquired the taste, without entering into the academy of the Caracci. These were Bonone of the city of Ferrara, and Guercino belonging to the state; of whom, as residing so long with his school at Bologna, I have there written what need not here be repeated. They were succeeded by other painters in the Legation, nearly the whole of them pupils of Caracci's followers, or again of their disciples; insomuch, that what now remains of the Ferrarese School, is almost a continuation of that of Bologna. It is the crowning glory of the Ferrarese to have boasted superior emulators of the final school of Italy, as they had of all the preceding. But it is now time to proceed to the particulars.

Carlo Bonone, called by the admirable Cochin invariably Bourini, was pupil to Bastaruolo. On being deprived of his master, he continued to exercise his acquired manner; but he subsequently inclined to the strong, to contrast of light and shadow, and to the difficult parts of composition, more than any other contemporary Ferrarese. I suspect that, despairing of competing in grace with Scarsellino, he intended to oppose him by a more robust and enlarged manner. Nor had he far to seek for it, while the Caracci flourished in Bologna. He left his native place; and perhaps passing through that city, he conceived the first idea of his new style. Arrived at Rome, he there continued above two years designing the beautiful from nature in the academy, and out of it from the works of art; and then returned to Bologna. Here he remained a year, "until he had mastered the character and colouring of the Caracci, and devoted himself exclusively to the principles and practice thus adopted, entirely renouncing all other manners." Thus states Baruffaldi; and adds, that he resided also at Venice, whence he departed more confounded than instructed, with the fixed intention of never in the least departing from the Caraccesque manner. He went also to Parma, and saw the works of Coreggio, according to some, though without departing from his maxim. What progress he made in the path thus selected, may be easily gathered from the opinions of experienced Bolognese, contained in different histories, who, on examining one of his works, ascribed it, without hesitation, to Lodovico Caracci; and it is also to be inferred from the public voice, which extols him as the Caracci of Ferrara.

This mistake is apt to be made in those compositions with few figures, rather than in his large histories. In the former his dignity of design is calculated to deceive us; as well as the conception and attitudes of his heads of men, the form and fulness, the fall and folding of the drapery, the choice and distribution of the colours, and the general tone which in some works, more correctly conducted, greatly resemble the Bolognese style. But in his compositions on a grand scale, he does not closely imitate the Caracci, always sparing in their figures, and anxious to make them conspicuous by a certain disposition peculiarly their own; but rather follows the Venetians, and adopts methods to multiply the personages on the scene. The grand Suppers which he painted (of a few of which we have engravings by Bolzoni) might be almost pronounced from the genius of Paul Veronese, so greatly do they abound with perspective, stages, and staircases; so thronged is every situation with actors and spectators. His Herod's Feast, at S. Benedetto, is much celebrated, as well as the Marriage of Cana, at the Certosini, at S. Maria in Vado, and other places in Ferrara, but, in particular, his Supper of Ahasuerus, in the refectory of the Canonici Regolari of S. Giovanni, at Ravenna. The canvass is large, as well as the vestibule which fills it, while the multitudes which there appear, thronged together, is excessive; guests, spectators, domestics, musical choirs and companies in the balconies, and in a recess, through which is seen the garden, appear other tables surrounded by guests, with so beautiful an illusion of aerial perspective, as at once to relieve and to gratify the eye with infinite variety. There is as much diversity also in the attitudes, novelty of drapery, richness of plate, &c., of which it seems impossible to finish the inspection. A few figures too are more studied, such as that of Ahasuerus, of the master of the feast, and of a kneeling page, in the act of presenting the royal crown to the king. To these add several of the singers, which rivet the eye by their respective dignity, vivacity, or grace. In no other work did Bonone succeed equally well in captivating others and in pleasing his own taste.

Yet the church of S. Maria in Vado boasts so great a number of his paintings on the walls, so many in the vault and in the ceiling, conducted too with so perfect a knowledge of foreshortening, that, in order to estimate the vastness of his talents, we ought to see that magnificent temple itself. When Guercino left Cento for Ferrara, he used there to spend hours devoted only to the contemplation of Bonone. I find mention that, for such productions, "he was elevated even to a competition with Coreggio and the Caracci," and he assuredly adhered much to that method, designing accurately, modelling his figures in wax, arranging the foldings, and exhibiting them to a nocturnal light to examine their best effect, which he aimed at even more than the Caracci. Still I have too great deference for public opinion, which acknowledges no rivals to these noble masters, though they had imitators; and I have heard judges express a wish for more constant accuracy of design, choice in his heads, stronger union of colours, and a better method of laying on his grounds, than they find in Bonone. Notwithstanding similar exceptions, however, this artist stands as one of the very first, after the Caracci. Though inferior in age, he could not be called inferior in merit, to Scarsellino; and the city, divided into parties, could not agree to award the palm either to the elder or to the younger. They pursued different manners; each was eminent in his own, and when they came into competition each exerted his utmost industry not to be outshone, which left the victory still doubtful. There were a few years ago at the Scala, and are yet at other places, a number of these rival productions, and it is wonderful to see how Bonone, accustomed so much to fill his canvass on a large scale, can adapt his genius, equal to any, to study and refinement, even painting his figures of small proportion almost in the style of miniature, in order that Scarsellino, in these ornaments of the cabinet, should not excite greater admiration than himself. Different collections, and particularly that of the noble Bevilacqua, possess fine specimens of him; in public is his Martyrdom of St. Catherine, in that church, a real treasure, much sought for by foreigners, who have frequently offered for it large sums without success.

No disciple of Bonone's school acquired much celebrity, and, least of any, Lionello, nephew to Carlo, and his heir. He was indebted to his uncle for his knowledge of the art, but could never be induced to practise it with diligence. What he has left was either executed with Carlo's assistance, and from his designs, or is of very middling merit. Others, who had successfully attained the manner of this master, died young, as Gio. Batista della Torre, born at Rovigo, and Camillo Berlinghieri, both artists of genius and highly estimated in collections. Some early pieces of great promise adorn the church of S. Niccolo, where the former painted the vaulted ceiling, but on some defect in the work being pointed out by the master, he refused to complete it, and setting out in anger for Venice he there took up his residence, and shortly came to an untimely end. By the second was painted the picture of the Manna, at S. Niccolo, besides several others throughout the city, and a few also at Venice, where he obtained the name of the Ferraresino, and where he died before completing his fortieth year.

The highest reputation was obtained by Alfonso Rivarola, likewise called, from some property left to him, Il Chenda. On his master's death he was proposed, as the most familiar with his style, by Guido Reni, to complete an unfinished work of Bonone. At S. Maria in Vado is the Marriage of the Virgin, sketched by Bonone, and which Chenda painted, Lionello having declined to venture upon such a task. This picture has a powerful rival in one of Bonone's, placed opposite to it, though it still displays a hand not unworthy of following that of Bonone. His fellow citizens entertained the same opinion of his other early efforts, such as the Baptism of the Saint, exhibited in a temple of noble architecture at S. Agostino, in a style of foreshortening that displays a master. His Fables, too, from Guarini and Tasso, conducted in the Villa Trotti, as well as the pictures yet belonging to the same nobles, and to different houses in the city, are held in esteem. But he executed little for churches and collections, aiming more at popular admiration, which he obtained by exercising at once the office of architect and of painter at public festivals, and in particular at tournaments, then so very prevalent in Italy. One of these, which he conducted at Bologna, laid the foundation of his early decease. Either he met with little applause, and took it to heart, or, according to others, had such success as to lead to his being carried off by poison. Thus, in few years, Carlo Bonone's school approached its close, not without leaving, however, numerous works which, owing to their uniform style, are now attributed generally to the school, not in particular to any artist.

I reserved for the series of the Caracci the name of Francesco Naselli, a Ferrarese noble, though stated by some to have been initiated in the art by Bastaruolo. This, however, is uncertain; it is only known that he designed from the naked model with assiduity in an academy opened in conjunction with his efforts, at Ferrara; and that going thence to Bologna, he took copies of various works by the Caracci and by their disciples. In the churches of his native place, and in private cabinets, numerous proofs of these studies are met with, the most laborious of which are two miracles of St. Benedict, copied in the cloister of S. Michele in Bosco, and now placed at S. Giorgio of the Olivetani in Ferrara. Of these, one is borrowed from Lodovico, the other from Guido; but preferred to both is his Communion of S. Girolamo, which decorates the Certosa, a copy from the original by Agostino. Guercino also was one of his favourites; of his he copied every thing he could meet with, having selected him, after the Caracci, for his first guide. By such practice Francesco succeeded in designing and painting with good success in his own manner, on a large scale, animated, soft, with rapid execution and strong union of colours, inclining in those of his fleshes to a sun-burnt hue. Of his own design is the S. Francesca Romana at the Olivetani, the Assumption at S. Francesco, several Suppers, abounding in figures, belonging to private institutions, five of which are in the Cistercian monastery. He likewise painted at the Scala in competition with one of the Caracci, with Bonone, and with Scarsellino. Nor was he judged unworthy of them; and at the sale of those valuable paintings for the relief of the Hospital, in 1772, considerable prices were offered for his productions. Although noble, and in easy circumstances, he never ceased to persevere, and it would appear that he was desirous of promoting the success of one of his domestics in the same art. Crespi declares that he had read a statement, showing Alessandro Naselli to be the son of Francesco, but, according to historians, he was an artist of mediocrity, the omission of whose works will scarcely be any loss to my readers.

It is here necessary to interrupt for a moment our series of the Caracci's disciples, to make mention of two geniuses, who also became painters, like Naselli, but in the Venetian taste. Gio. Paolo Grazzini, one of Bonone's best friends, professed the goldsmith's art, and it was owing only to his bias for painting, imbibed from Bonone and other contemporaries, that he acquired its principles in familiar conversation. Eager to put them to the test, he commenced his altar-piece of S. Eligio, for the Goldsmith's School. It occupied him eight years in its completion, but it was executed in such a masterly style as alone to decide his excellence, approaching quite as nearly as any to the manner of Pordenone. Being then about fifty years of age, it excited the utmost surprise throughout Ferrara, yet he still persevered, and conducted some minor pieces, which decorate private buildings, in the same taste. So rare an example, or rather one so wholly novel, appeared to me well worth historical mention. Somewhat at a later period Giuseppe Caletti, called il Cremonese, came into notice. He acquired the art rather from the models of the Dossi, and of Titian, than from masters, imitating not only their manner of design, but their colouring, which is so difficult. He contrived also to imitate that antique tone which time gives to paintings, and thus adds to their harmony. He painted a good deal for collections, such as half-length figures, bacchanals, and small histories. Baruffaldi recognized several in some noble galleries at Bologna, and has been compelled to argue the point with judges, who maintained that they were Titian's. He farther relates, that an excellent pupil of Pietro da Cortona purchased a great number, at a high price, at Ferrara, being confident of reselling them at Rome for Titian's, or at least for works of his school. In Ferrara, which is filled with his pictures, it is difficult to succeed in these impostures. He is there distinguished by fleshes of a sun-burnt hue, by certain bold lights, strengthened by contrast with somewhat loaded shadows, by the fleeciness of his clouds, and by other careless and ill-conducted accessories. Often too the extravagance of the composition betrays the real author, when, for instance, in a bacchanal, much resembling Titian, there is inserted a chase, or some modern sport, which is like representing wild boars in the sea, or dolphins in the woods. In a similar manner are his other fine qualities impaired for want of judgment, without which no artist is well calculated for the decoration of churches. In that of S. Benedict, however, his four Holy Doctors, on an altar, are seen to advantage; and upon another his admirable St. Mark, a grand and correct figure, full of expression, and very picturesquely surrounded by abundance of volumes, in whose drawing he is so true and natural, as to have been called the painter of books. Having completed this work, il Cremonese disappeared out of the city, nor were farther tidings heard of him, although some writers conjecture that he died about 1660.

Returning to the disciples of the Bolognese, the first deserving of mention here is Costanzo Cattanio, a pupil of Guido. His portrait, both on canvass and in prints, I have seen, and it has always a threatening kind of expression. That martial, or bravo character, affected by so many artists about the times of Caravaggio, also misled this excellent genius from the right career. At times Costanzo was an exile, now at open defiance, and now wholly occupied in shielding his protectors, who never ventured out unarmed, from dread of their rivals, and to whom he pledged himself that they should not be assassinated in his presence. When he applied himself to his art his peculiar disposition appeared stamped on the expression of his figures. The characters whom he was most fond of introducing into his histories were soldiers and bullies, whose fierce aspects seemed but ill adapted to the soft style of his master. These, and many other ideas, he borrowed from the prints of Durer, and Luca of Holland, which he reduced to his own diligent and studied manner, particularly in his heads and his steel armours. Although attached to strong expression, and borrowing something from the other schools of Italy which he saw, he nevertheless at times betrays sure traces of Guido's school. Thus, in his S. Antonio, painted for the parish church of Corlo, and in our Lord's Supper, which he placed in the refectory of S. Silvestro, and in every other instance when he aimed at the Guidesque, he succeeded to admiration.

Another Ferrarese, Antonio Buonfanti, called il Torricella, is said to have sprung from the school of Guido, though Baruffaldi is silent on this point. Two large scripture histories by him are at S. Francesco; but there are few other paintings or accounts of him at Ferrara; and he seems to have taken up his residence elsewhere. It is certain that the young artists who succeed this period are all ascribed to the school of Cattanio. Such are Francesco Fantozzi, called Parma, Carlo Borsati, Alessandro Naselli, Camillo Setti, artists who scarcely awaken the curiosity of their countrymen. Giuseppe Avanzi is more known by his very numerous works, for the most part confused, and painted almost at a sitting. He is described more like an artisan bent on earning good wages by his day's labour. His picture of St. John beheaded, however, at the Certosa, is extremely Guercinesque; and some others on canvass and on copper, which he retouched and studied a good deal, do him great credit.

But Cattanio's chief praise consists in his education of Gio. Bonatti, and in his recommendation of him to Card. Pio, who greatly assisted him, by placing him first at Bologna under Guercino, afterwards under Mola at Rome. He long supported him also at Venice, studying the heads of that school; besides defraying his pictoric tours through Lombardy, and giving him the custody of his paintings at court. In fact, he bestowed upon him such favours that the public, considering him as the dependant of that prince, always termed him _Giovannino del Pio_. At Rome he was esteemed among the best of his age; select, diligent, learned in the different styles of Italian schools; the view of which, during his picturesque tour, he declared was highly advantageous to him. And true it is that the painter, like the writer, is formed by the study of great models; but the one may behold them all collected in the same library, while the other has to seek them in different cities, and in every city to study them at different places. At Rome his only public works are a picture at the church dell'Anima, a history of S. Carlo at the Vallicella, and an altar-piece of S. Bernardo, at the Cisterciensi, highly commended in the Guide of Rome. The rest of his works, and they are but few, belong to private persons; his health declining at the age of thirty-five, he lingered eleven years afterwards, and died at Rome.

Lanfranco likewise supplied a pupil to this school, called by Passeri, Antonio Richieri, a Ferrarese. He followed his master to Naples and Rome, where he painted at the Teatini after the designs of Lanfranco:--the sole information I have been enabled to collect respecting his paintings. I am well aware that he devoted himself to engraving, as we learn also from Passeri, and that at Naples he engraved an altar-piece by his master, which was rejected by the person who gave the commission for it. There is more known of Clemente Maiola, whom the Ferrarese assert to be their fellow-citizen and pupil to Cortona. He conducted many works at Ferrara; one of S. Nicola supported by an angel, in the church of S. Giuseppe. He is moreover mentioned as a fine pupil of Pietro, in the Notizie of M. Alboddo, for works there extant. Titi gives account of others left in Rome at the Rotonda and in other temples; but he differs respecting his master, declaring that he was instructed by Romanelli.

Meanwhile Cignani's academy rose into notice, owing to its master's reputation, and among those who repaired thither from Ferrara were Maurelio Scannavini and Giacomo Parolini. Maurelio must be included among the few whose object was to emulate their master in that scrupulous exactness, which we noticed in its place. He was naturally slow, nor could he prevail on himself to despatch his work from the studio until he beheld it already complete in all its points. Though impelled by domestic penury to greater haste, he varied not his method; and, free from envy, beheld the rapidity of Avanzi, who abounded with commissions and money, whilst he and his family were destitute. The noble house of Bevilacqua assisted him much; and it redounds to its honour, that on remunerating him for some figures in an apartment where Aldrovandini had conducted the architecture, a very large sum was added to the price agreed upon. He produced few other pieces in fresco; a process that requires artists of more rapid hand. He painted more in oil; among the most esteemed of which is his S. Tommaso di Villanova, at the Agostiniani Scalzi; and at the church of the Mortara his St. Bridget in a swoon, supported by angels. The families of Bevilacqua, Calcagnini, Rondinelli, and Trotti, possess some of his pictures for private ornament; among which are portraits that display Maurelio's singular talent in this branch; and histories of half-length figures in the manner of Cignani. They exhibit gracefulness, union of colouring, and strength of tints, which leave him nothing to envy in the artists by whom he is surrounded, except their fortune.

Giacomo Parolini, pupil to the Cav. Peruzzini in Turin, afterwards to Cignani at Bologna, was present at Maurelio's decease, and completed a few works left imperfect, out of regard to his friend, and for the relief of his orphan family. He did not possess that true finish peculiar to the followers of Cignani; though he still maintained the reputation of his second school, by the elegance of his design, the propriety and copiousness of his composition, and his very attractive colouring, particularly in the fleshes. Aware of his own power in this difficult part of painting, he is fond of introducing into his pieces the naked figure, more especially of boys, from the proportions of which judges are enabled to recognize their author. His bacchanals, his Albanesque country-dances, his capricci, are all of such frequent occurrence at Ferrara, as to render it more easy to enumerate the collections in want of them, than those where they are. Foreigners also possess specimens; and there are engravings in acqua forte by the designer's own hand. His picture of the Cintura, representing the Virgin among various saints, nearly all of the order of St. Augustine, a piece engraved by Andrea Bolzoni, is held in much esteem. Nor are the three altar-pieces in the cathedral unworthy of notice; and in particular the entablature of S. Sebastiano at Verona, which greatly raised his reputation, representing the saint in the act of mounting into glory, amidst groups of angels; a beautiful and well executed work. Parolini is the last among the figurists whose life was written at length by Baruffaldi; the last, also, on whose tomb was inscribed the eulogy of a good painter. With him was buried for a season the reputation of Ferrarese painting in Italy.

The author of the "Catalogue," in the fourth volume has collected the names and drawn up the lives of certain other painters, interspersing several episodes. Concerning these figurists, little else is related than mere failures and misfortunes. For instance, Gio. Francesco Braccioli, pupil to Crespi, though promising well in some of his works for galleries, subsequently fell into infirmity of mind; one lost his taste for the profession; another cultivated the art with remissness, or only as a dilettante; a third produced some tolerable efforts, but was mostly extravagant; one had genius and died early; another long life without a spark of talent. Meanwhile, this dearth of native artists was for some years supplied by Gio. Batista Cozza, from the Milanese; a painter of a copious, easy, and regulated style. Not that he was invariably correct, though very popular, and when he pleased satisfying even judges of the art; as in that picture representing different SS. Serviti, in the church called di Cà Bianca.

After him appeared the modern artists, who now enjoy deserved reputation in the academy of Ferrara, which, owing to the particular patronage of his eminence Card. Riminaldi, has recently risen into distinguished notice. With the name of this noble citizen and of the professors whom he himself selected and promoted, future writers will doubtless commence a fourth epoch of painting. By him the academy was supplied with laws, and took its established form. To his care and munificence several young artists were indebted for their residence at Rome, and all the rest for the benefit of a well regulated institution at Ferrara. He also did much for the cause of letters in the university. But this is not the place to give an account of it; and his merits, commended as they are to posterity in numerous books and monuments, and impressed on the hearts of his grateful fellow citizens, are not likely soon to fall into oblivion.

It remains to speak of other kinds of painting, and it will be best to commence with perspective. After this art had assumed a new aspect at Bologna, and spread through Italy, as already stated, it was introduced by Francesco Ferrari, born near Rovigo, into Ferrara. He had been instructed in figure painting by a Frenchman, and afterwards became professor of architectural and ornamental painting under Gabriel Rossi, the Bolognese, of whose name, to say nothing of his style, I find no traces left at Bologna. To those who had the means of comparing the manners of these two artists, it appeared that Francesco did not equal him in the dignity of his architecture, but surpassed him in strength and durability of colouring, and in that relief so attractive in these performances. Moreover, he had a considerable advantage over his master, in his knowledge of appropriately painting histories. The Dispute of S. Cirillo is still to be seen, and the Rain granted to the Prayer of Elias, in the church of S. Paolo: pictures, observes Baruffaldi, which rivet the eye. Other proofs of his genius for history pieces are met with at the Carmine and at S. Giorgio, but still they yield to his architectural labours, which may be said to have formed his trade. He worked also for theatres, and in different Italian cities, and in the service of Leopold I. at Vienna. Being constrained to leave Germany on account of his health, he returned to Ferrara, and there opened school.

Among his pupils were Mornassi, Grassaleoni, Paggi, Raffanelli, Giacomo Filippi, and one who surpassed all the rest, Antonfelice Ferrari, his son. This artist did not attempt figures, but confined himself to architecture, in which he added to the somewhat minute style of his father, a magnificence well adapted to attract the public eye. He was employed with success in the Calcagnini palace, in that of the Sacrati, Fieschi, and in other private and public places in Ferrara, as well as at Venice, Ravenna, and elsewhere. Suffering much however in health by painting in fresco, and on this account being reduced to live with less comfort, he conceived such aversion for the art, that on making his will he enjoined that his son was to forfeit his inheritance if he ever became a fresco painter. Some of his pupils therefore succeeded him, among whom Giuseppe Facchinetti most distinguished himself. He painted at S. Caterina da Siena and other places, at once in a delicate and sound style, and is almost reputed the Mitelli of his school. Maurelio Goti of Ferrara nearly approached his style, not without marks of plagiarism. From the same country and school was Girolamo Mengozzi Colonna, who became a long resident at Venice. He accompanied the figures of Zompini with ornamental work at the church of the Tolentini, and those of Tiepolo at the Scalzi; and conducted the architecture in the ducal palace and elsewhere. Zanetti, in his Guide, mentions his name as above; but, in his "Pittura Veneziana," (thirty-eight years afterwards) he calls him Colonna Mengozzi, and a native of Tivoli. Guarienti extols him as the first architectural and ornamental painter of his time.

The art of landscape painting, which, after the age of the Dossi, had almost fallen into disuse at Ferrara, was revived there by some foreigners. Giulio Avellino, called, from his native place, the Messinese, resided some time in this city, and died there at the beginning of the century. He had been pupil to Salvator Rosa, whose style he somewhat softened, and richly ornamented with views of ruins and architecture, as well as with some small and well composed figures. The Signori Cremona and Donati possess select specimens; and there is scarcely a collection in Ferrara or Romagna which does not value itself on possessing them. After him appeared Giuseppe Zola, born, according to Crespi, at Brescia, a landscape painter, of a taste devoted to no single master, but formed upon many. He was exceedingly rich in conception and in expedients; his buildings are of a rustic kind; his ruins partake of the modern, and are picturesquely covered with creeping plants and ivy; the backgrounds of an azure hue, and great variety of objects and figures, in which he was less happy than in his landscape. His earlier works are held in most esteem; when he obtained greater commissions, he performed them with a more mechanical hand, and, with the exception of his colouring, which he always studied, he bestowed little care on the rest. Those pictures are in general most complete, in which he introduced the smallest figures; and such may be seen even out of private houses, in the Monte della Pietà, and in the sacristy of S. Leonardo. He formed several pupils, the best of whom was Girolamo Gregori. Instructed as a figurist by Parolini, and afterwards by Gioseffo dal Sole, he failed for want of perseverance, except very rarely, in greater works. Yet he produced many, and his landscapes have been highly extolled. The same may be observed of Avanzi, mentioned by us shortly before; who, in addition to his very pleasing landscapes on canvass and on copper, surpassed all his fellow citizens in the drawing of flowers and fruits.

An invention, finally deserving of mention, and extremely useful to painting, was made known during this last epoch by a Ferrarese, and afterwards brought to perfection by others. Antonio Contri, son of a Ferrarese lawyer, who, for domestic reasons, had long settled at Rome, and next at Paris, feeling a natural bias for design, practised it in both those cities; but first displayed greater excellence in embroidery than painting. Returning into Italy, and establishing himself at Cremona, he was instructed in landscape by Bassi, in which he was accustomed also to introduce flowers, the branch of painting in which he most distinguished himself. He also succeeded well in perspectives and in animals. His pictures, and those of his son Francesco, who pursued his style, remain at Cremona, Ferrara, and their vicinity; but it was his new discovery, just alluded to, which obtained a more wide circulation and repute. This is the method of removing from walls to canvass any picture without the least injury to its design or colouring. Various trials of it, during the space of a year, instructed him how to compose a sort of glue, or bitumen, which he spread over a canvass of equal size with the picture he wished to transfer to it. Having applied this to the painting, and beaten it firm with a mallet, he cut the plaister round it, and applied to the canvass a wooden frame well propped, in order that the work might take hold, and come off equal throughout. In a few days he cautiously removed the canvass from the wall, which brought with it the painting; and, having extended it on a smooth table, he applied to the back of it another canvass, varnished with a composition more adhesive than the former. He then placed over the work a quantity of sand, which should equally compress it in all its parts; and, after a week's space, he examined the two pieces of canvass, detached the first by means of warm water, and there then remained on the second the whole painting taken from the wall. He applied this method in different houses of Cremona, for Baruffaldi in Ferrara, and in Mantua for Prince d'Harmstadt, governor of the city; so as to enable him to send some heads, or other works of Giulio Romano, thus removed from the ducal palace, to the emperor. The secret composition of his glue Contri always concealed, but similar attempts were made about the same period in foreign countries. In the journal of Trevoux it is stated that Louis XV. caused the celebrated painting of St. Michael, by Raffaello, to be removed from its original canvass to a new one, a process which succeeded admirably, for on this last the chinks and creases disappeared which had greatly injured the former.[60] From this account I have been led to doubt whether Contri were really the inventor of this art, as asserted by Ferrarese writers. I say only doubted, since I am unable to judge the question with precision, for want of ascertaining the exact year in which he first applied the method with success. What is indisputable however is, that he was the first who was induced to make such trial of it upon painted walls, and that the plan which he adopted was only of his own invention. But whether he discovered the art, or only the method of applying it, at this period his secret, or something equivalent to it, is pretty well known in Italy. On passing through Imola, I saw, in a private house, two histories of the Life of the Virgin, which had been painted by Cesi in the cathedral of that city, removed thence, and replaced on large new canvass. Had this invention been elicited a few years previously, several of those ancient works might have been preserved, mention of which is now only to be met with in books, to the regret of every lover of the fine arts.

Footnote 60: See Il Sig. Ab. Requeno, in his "Essays for the Re-establishment of the ancient Art of the Greek and Roman Painters." Ed. Ven. p. 108.

Here too we must give some account of an exceedingly interesting art, as regards that of painting; an art which, after the lapse of centuries, in some degree re-appeared in Italy, owing chiefly to the exertions of an ingenious Spaniard. He resided many years at Ferrara, and was assisted by the artists there in his experiments and undertakings. Some years before, attempts had been made at Paris to recover the method of painting in caustic, or that which the Greeks and Romans succeeded in by the medium of fire.[61] A few words in Vitruvius and Pliny, and these very obscure in our days, and to which various meanings are given by critics, formed the only chart and compass to direct the inquirer. It was known that wax was employed in ancient painting, much the same as oil in the modern; but how to prepare it, to combine it with the colours, to use it in a liquid state, and how to apply fire to the process until the completion of the work--was the secret to be discovered. Count Caylus, who pursued antiquarian researches less for the sake of history than of the arts, was perhaps the principal promoter of so useful an inquiry. The royal Academy of Inscriptions joined him, and offered a public premium for the discovery of a method of painting in caustic, such as should be found worthy of its approbation. Many experiments were at this period made; and philology, chemistry, painting, all united in throwing light upon the subject. Among various methods proposed by three academicians, Caylus, Cochin, and Bachiliere, two of them received premiums, though in some measure the same, and both proposed by the last of the three mentioned names. The whole account may be read in the Encyclopedia, under the head of _Encaustique_. Thenceforward native artists did not fail to make new trials, and practise themselves in pictures _all'encausto_. One of these, who arrived at Florence in 1780, exhibited to me a head, and some portion of the figure, thus painted by himself. I likewise saw him so employed. He had near him a brazier, on which were placed small pans filled with colours, all of a different body, and mixed with wax, but with what third ingredient I know not; whether salt of tartar, as recommended in the dissertation remunerated at Paris, or some other composition. A second brazier was fixed behind the cartoon or panel on which he painted, in order to preserve it always warm. The work being finished, he went over the whole with a small hair brush, and gave it a clear and vivid glow.

Footnote 61: See the Encyclopedia, at the Art. _Encaustique_.

Some there were at that time in Italy who much admired this art. The numerous reliques of ancient painting, preserved free from the effects of time at Naples and at Rome, may be said to exhibit a manifest triumph over modern productions, which so much sooner become aged and fade away. This it was that induced the Ab. Vincenzo Requeno to publish the book shortly before cited, at Venice, first in 1784. In him were united all the requisite qualities for promoting the new discovery--the learning of a man of letters, experience of an artist, philosophical reasoning, and persevering experiment. His work is in every one's hands, so as to enable them to form an opinion, for this is not the place to enter into a discussion of its various merits. It has been done by the Cav. de Rossi in three extracts from that work, published in the first volume of the "Memorie delle Belle Arti," one of the most brief and at the same time admired journals in Italy. My sole object is to do justice to his singular penetration and industry. He gave a solution of the difficulty mentioned in the Encyclopedia, and discovered a new process. He shewed that salt of tartar was not made use of by the Greeks to dissolve wax, and adapt it to the brush, because they were unacquainted with such a substance; while his own experience convinced him it was useless for the purpose. He knew that the application of fire to the back of the painting was not the method adopted by the Greeks, inasmuch as it was inapplicable to their paintings upon large walls. He tried many experiments, and he at length found that the resinous gum, called mastic, would produce the effect which he had vainly sought from salt of tartar. With the gum and wax he made crayons, and found various ways of combining the colours, so as best to adapt them for the use of painting. When the work was finished, he was accustomed sometimes to give it a slight covering of wax, in place of varnish, and sometimes to leave it without; but in every process which he observed, he perfected the work by the application of fire, or as he himself observes, by burning it. This he effected by holding a brazier near the front of the picture, and lastly going over the work with a small linen cloth, which clears and enlivens the tints.

I have seen the first trials, as made by the Ab. Requeno himself, or by artists directed by him, in possession of his Excellency Pignatelli at Bologna, who added to the discovery no small share of information and patronage. But it was not to be expected that a new kind of painting could be perfected by means of a single studio. Aware of this, the author of the work thus expresses himself: "At the moment when a resinous gum shall be found better, that is, more white and hard, and equally soluble with wax and water as those employed by me, the pictures and caustics will become more beautiful, consistent, and durable. I am not a painter by profession, nor do I merit any particular commendation among dilettanti. My pictures have been conducted solely for the purpose of shewing a method of painting with ease and consistency in wax, without oil, without glue, and by means of gums only, with wax and water." On this account he thenceforward invited professors to join in promoting his discovery, and lived to witness its effects.

Omitting to speak of the chemists who aided in throwing light upon the progress of this art,[62] the pictoric school at Rome undertook in a manner to promote and bring it to its last degree of perfection. At that period lived counsellor Renfesthein, the friend of Mengs and of Winckelmann, a man of exquisite taste in the arts of design, and ever surrounded by numbers of artists, who either received from him the benefit of his advice, or commissions from foreigners, private persons, and sovereigns. To these he proposed sometimes one, sometimes another method of the caustic art; and in a short time he beheld his cabinet filled with pictures on canvass, on wood, and on different kinds of stones, which he had already submitted to every proof, by putting them under ground, in water, and exposing them to every variety of weather without injury. From this time the new discovery spread to different studii, and was communicated successively to the Italian cities, and to foreign nations. Entire chambers have thus been painted by caustic, a specimen of which is seen in that which the Archduke Ferdinand, governor of Milan, caused to be thus decorated in his villa of Monza. And in ornamental paintings and landscape this art may hitherto boast still more attractions than in figures. All however must be aware that it has not yet attained that degree of softness and finish possessed by the ancients in their paintings in wax, and in oil and varnish by the moderns. But where many unite to perfect it, it may be hoped that some Van Eyck may rise up, who will succeed in discovering, or more properly in perfecting that which "all artists had long looked for and ardently desired."[63]

Footnote 62: See the _Discorso della Cera Punica_, by the Cav. Lorgna, Verona, 1785. Also _Osservazioni intorno alla Cera Punica_, by Count Luigi Torri, Verona, 1785. In the work of Federici is an account of another little production by Gio. Maria Astorri of Treviso, edited in Venice, 1786; in which Spanish honey is much praised for the purpose of preparing and whitening the wax; and being a painter he relates several experiments he made with this and other methods, which succeeded well. Gio. Fabroni, keeper of the royal cabinet at Florence, likewise wrote concerning it. See the Roman Anthology for the year 1797.

Footnote 63: Vasari.