File:The painters of the school of Ferrara (1911) (14745389306).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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representshimself as a ruling spirit in the Romagnole politics ofthe early years of the sixteenth century. After this,he grandiloquently styles himself the magnific-entGirolamo Casio de Medici, Bolognese patrician, knight,and poet laureate—though, in spite of papal briefs,the Bolognese steadily declined to recognise him as anobleman. His self-composed epitaph sums up hiscareer:-— Visse il Casio mercante e zoileroEt con Appol hebbe sua mente unita,A Terra Santa and6, scrisse la VitaDi Christo; hor qui 6 Poeta e Cavalero. ^ 1 Lihro ifitittUato Cronica ore at tratta di JEpitaphii, di Amore, t diVirtute. Bologna, 1528. Among the Epitaphs (most of themexecrable) are those for Francia, Bartolommeo Bianchini, Bar-tolommeo Felicini, and the Milanese painter, BeltraflBo, with whomCasio was closely associated, as his portrait in the Brera and thaMadonna in the Louvre show. ft Op. eit., f. 40. Casio lived a merchant and jeweller, and had hid . « • • • . > > > > » > »
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Anil< rsdii Francta THE NATIVITYWith Auton Galeazzo Bentivoglio and Girolamo Casio) Boloi^uii Ill /ilCr /Itlf/i 8(; LORENZO COSTA 87 We SAW that Costa was working with Francia onthe Bentivogho altarpiece for the Misericordia, ofwhich his predella is signed and dated 1499. In thesame year, he was temporarily at Ferrara, where itwas proposed that he should take some part in thedecoration of the newly completed choir of theDuomo.^ In September, he received payment for apicture which he had executed for Duke Ercole. Ithas been suggested that this may be the large altar-piece, once in the church of the Gesu in Ferrara andnow in the possession of Lord Wimborne, in which thecloak of the Blessed Virgin is fastened by a broochbearing the white eagle of Este; but the style of thepicture is thought to point to a later date in theartists career.^ With the beginning of the sixteenth century, achange comes over the character of Costa*s art. It no longer shows the robust strength of the figures o

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