772. MADONNA AND CHILD ENTHRONED.
Cosimo Tura (Ferrarese: 1420-1495).
Cosimo Tura (pronounced Cosmè in Ferrarese) is the first Ferrarese painter of eminence and of native talent whose works have come down to us. He was a well-to-do citizen, and, like Titian after him, dealt in timber. As an artist he was in the service of Duke Borso of Ferrara (whose portrait is introduced in the background of No. 773), and other members of the princely house of Este. The court of Ferrara was then one of the most learned of Italy. A curious instance occurs in this picture, where, on either side of the Virgin's throne, are inscribed the Commandments, in Hebrew characters. Such inscriptions are common in Ferrarese pictures, and point to the presence of some Hebrew scholar or scholars. It was at this court that Cosimo came under the influence of Flemish art as described below, for the house of Este (which was of Lombard origin, and thus had a natural affinity perhaps for northern art) had invited Roger van der Weyden to Ferrara. Tura was "first employed by the Duke of Ferrara in 1451. Between 1452 and 1456 his whereabouts are uncertain. Possibly he was then in Padua among the followers of Squarcione, or else in Venice, to the poor of which city he left by will part of the fruits of his long and industrious life. In 1458 he rose to a fixed appointment in the Ducal service. He made a fortune, risked it in trade, and died a wealthy man" (Catalogue of the Burlington Fine Arts Club's Exhibition, 1894, p. xv.). Some of his works are to be seen at Ferrara, others are in the Berlin Gallery, at Bergamo, and the Correr Museum at Venice. He is one of the most unmistakable and least fascinating, yet most interesting of painters. Of beauty or grace in the human figure he had no perception. His colour schemes are peculiar, and harmonious rather than beautiful. But he had sincerity of purpose and vigour of manipulation. Where his subjects lend themselves to strength, he is impressive, as in the "St. Jerome" (773), but his Madonnas (772 and 905) are both affected and ugly. His patience in the execution of detail, and quaint if superabundant ornament, are always interesting. The picture now before us is thoroughly characteristic of a master who alternately repels and attracts.
The decorative detail here deserves close attention. Compare, for instance, the ornament of the pilasters here with that of the pilasters in Crivelli's "Annunciation" (739), which was painted about the same time. "Crivelli follows the traditional lines common to all such features from later Roman times downwards, while Tura's accessories are full of inventiveness and are evidently designed for this especial picture. Thus the cup, balls, and wing-like appendages in the pilaster are quite original. The general scheme of colour in the picture, also, with its contrasts of red and green, is quite apart from anything existing in contemporary Italian art, and recalls rather a Flemish stained-glass window of the fifteenth century" (G. T. Robinson in Art Journal, May 1886, pp. 149, 150). The musical instruments are also worth notice. "One of the angels, on the left, holds an ornamental viol, having five strings, with a carved man's head; another angel, on the right, holds a similar viol, with a carved woman's head. In the centre is placed a positive organ—that is, a small organ not intended for removal. The player is on the left, in front of the organ; the blower is on the right, behind it. Only natural keys are visible, but there are three stops to be drawn out from the side, in the primitive way, by means of cords attached to them, to control the pipes, of which thirty are visible and three are drones. These pipes are grouped in columnar disposition, like an hour-glass, and not in the order of ranks usual with small organs. It is noticeable that the player uses both hands, held nearly in the modern position" (A. J. Hipkins in The Hobby Horse, No. i. p. 19).