629. MADONNA AND CHILD.
Lorenzo Costa (Ferrarese: 1460-1535).
Lorenzo Costa was a pupil of Cosimo Tura, at Ferrara, but was soon drawn away to Bologna, where he worked with Francia. The friendship of these two men is a good instance of the unity between the different arts in the Middle Ages. Thus the workshop of Francia at Bologna consisted of two stories. In the upper story, pictures were painted under the supervision of Costa; whilst in the lower, gold and silver works were executed, and coins stamped, under the direction of Francia. Costa remained for twenty-three years at Bologna, where many of his principal works still exist. The altar-piece in the church of S. Giovanni in Monte is the most remarkable. In 1509, invited by the Marquis Francesco Gonzaga, whose wife was Isabella d'Este, Costa fixed his abode in Mantua, where he remained till his death. He depicted their court in an allegorical composition, now in the Louvre. "Costa's style," says Sir F. Burton, "varied during his long career. His earlier works bear signs of his filiation to Tura and Cossa. In later productions we may trace more of the amenity of Umbrian art, and finally the influence of his own pupil Francia. His best merits are a gentle gravity and a sense of colour. Want of force mars what is meant for grace."
This picture (which is signed, and dated 1505) should be compared with the Perugino in the next room (288), for Lorenzo Costa has been called "the Perugino of Ferrara," and works of his are in many galleries wrongly attributed to Perugino. Every one will feel that there is a grace and a sweetness here which recalls Perugino. Lorenzo, too, has Perugino's fondness for a "purist" landscape (see 288); and note the curious device, peculiar to the Ferrarese School, by which he introduces it. The Madonna's throne is constructed in two parts, so that between the base and the upper part a vacant space is left, through which we look into the open air ("Thus saith the Lord, the heaven is my throne, and the earth is my footstool"). One of Costa's weaknesses may be observed in the figures of the standing saints. "His figures are seldom planted firmly on the ground—a fault which he shared with Francia. The ill-understood folds of their garments obscure the form, and trail upon the ground in meaningless tags. This insensibility on the part of Costa to one of the noblest means of expression in art is remarkable, inasmuch as the works of Francesco Cossa might have set him an example of draperies carefully studied, true to fact, and often grandly disposed" (Burton).