File:The painters of the school of Ferrara (1911) (14766033264).jpg

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

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a uomoda bene, secondo era stato promesso per maestroFrancesco.^ In 1507, he decorated the ceiling of thesacristy of the Duomo with two frescoed to7idi, theMadonna and Child with Angels, and St. Geminianus,which are still to be seen in their place.^ These are the only paintings of Francesco Bianchi forwhich we have documentary evidence. A Crucifixionin the Galleria Estense seems an early work, paintedunder the influence of Ercole Roberti; the facialtype of the Madonna of the Annunciation alreadyappears in the women at the Cross. His hand, too, maybe recognised in certain frescoes of a chapel of theDuomo in Modena, representing the Last Judgment, 1 It is probably the Anuunciation mentioned by Vasari (ill.p. 541) as by Francia. Bianchi seems to have had no direct rela-tions with Fiancia or Costa, but was working on the same linesindependently. 2 Venturi, op. cit, p. 386. 3 Venturi, in Arch. S.or. dcWArte, VII. p. 106. In the relativedocuments, the painter is called M°. France?co Frare.
Text Appearing After Image:
Ani/ersoii p-RANCKSCO BlANCin THE ANNUNCIATION Moilcn;i To face page 64 FRANCESCO BIANCHl 65 with the Annunciation above and Our Lady a«d Saintsbelow. A beautiful little Agony in the Garden, inthe Corsini Gallery at Rome, appears also to be his,probably belonging to a date intermediate betweenthose of the Crucifixion and the Annunciation. We are on more uncertain ground with otherpaintings ascribed to Bianchi. A striking altarpiecein San Pietro in Modena, Our Lady enthroned withSt. Jerome and St. Sebastian (with scenes from theformer Saints life in the predella), while three nakedputti make music at the foot of the throne, is usuallyaccepted as his, even by Mr. Berenson ; Signor Venturihas recently attributed it to Bianchis fellow-townsman,Pellegrino Aretusi. Our data for judging the latterpainters work is too scanty to admit of a decisiveopinion. The famous altarpiece, traditionally ascribedto Bianchi in the Louvre, the Madonna and Childwith St. Benedict and St. Quentin, with the tw

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