File:The painters of the school of Ferrara (1911) (14768384035).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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Text Appearing Before Image:
a in Porto outside Ravenna in 1480, or, at least, finished before March, 1481.^ In this stately and finely-coloured picture the Madonna and Child are enthroned above, with two women Saints, while below are St. Augustine and the blessed Pietro degli Onesti (the founder of the church at the end of the eleventh century). Through the open pedestal of the throne is seen an alluring landscape, a city by the river shore with a pier and hills beyond, while on its base in grisaille are re-presented, as in bas-relief, the Massacre of the Innocents, the Adoration of the Magi, and the Presentation in the Temple. In the corners above the arch, naked figures are seen of Samson and David—a peculiar decorative symbolism which we shall find repeated in a later work of the artist. The whole composition of the picture, the disposition of 1 Document first published by Corrado Ricci, in the Rassegna d'Arte, January, 1904. Venturi first showed that this picture passing under the name of Stefano da Ferrara, is by Ercole.
Text Appearing After Image:
.InilriSllll KKCot.E KoHKini DKlOSITION FROM THE CROSS IJImneiistilil ColUrtioii Jli fave pdijc 54 ERCOLE DF ROBERTI 55 the figures and the structure of the throne, are verycharacteristic of the Ferrarese art of the Quattrocento, and strongly reminiscent of Turà's altarpiece at Berhn; but the types are Erooles own. After the completion of this monumental work, Ercole settled for a while at Bologna, where we find him in 1482. There, for Domenico Garganelli, he decorated a chapel in San Pietro (the older church destroyed in 1605 to give place to the present cathedral)with frescoes of the Passion and Death of Our Lady, in which latter he introduced the portrait of the donor. These are mentioned by Leandro Albert! ^ and describedat length by Vasari,^ but all that now remains to us of them is a sketch at Berlin for the Crucifixion. For the church of S. Giovanni in Monte, he painted three scenes of the Passion as the predella of the high altar, which are also cited by Vasari. Two of these, the Agony in

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