Approaching the fourteenth century, I find mention, that whilst Giotto was returning from Verona into Tuscany, "he was compelled to stop at Ferrara, and paint in the service of these lords of Este, at their palace; also some pieces at S. Agostino, which are still there;" that is, in Vasari's time, from whom these words are cited. I am uncertain whether any yet exist; but they afford sufficient authority to believe that the Ferrarese School, directed by such models, revived in an equal degree with the other schools of Italy. There are no accounts of the artists who flourished nearest to Giotto, from which we may judge how far they were influenced by his manner. His successors, however, must have been one Rambaldo and one Laudadio, who, about 1380, are recorded, in the annals of Marano, to have painted in the church of the Servi. This is now demolished, nor does there exist any account of the style of these painters. As early as 1380 appeared paintings in fresco in the monastery of S. Antonio, by an unknown hand, and also retouched, but of whose style I find no indication. In the Bolognese School I treated of one Cristoforo, who painted about the same time, at the church of Mezzaratta;[TN13] but as it is a disputed question whether he belonged to Ferrara or to Modena, nothing certain can be concluded as to his manner. Thus the history of letters affords us some degree of light, up to the opening of the fifteenth century; but the history of existing monuments only dates from Galasso Galassi, an undoubted Ferrarese, who flourished subsequent to the year 1400, when even in Florence the Giottesque style had begun to decline in favour of more recent artists.
The master of this artist is unknown; nor can I easily suppose, with some, that he was educated at Bologna. I found my objection upon an observation made upon Galasso's pictures, mentioned by us in the church of Mezzaratta at Bologna, and obvious to all. They consist of histories of the Passion, signed by the author's name; and, if I mistake not, they are wholly opposed to the style of all other pieces in the same place. The character of the heads is well studied for that period, the beards and hair more in disorder than in any other old painter I have seen; the hands small, and fingers widely detached from each other; and, in the whole, something peculiar and novel, apparently not derived from the Bolognese, from the Venetians, nor from the Florentines. I conjecture, then, that he acquired this style of design when young, and introduced it from his native place; the more so, as this production appearing in 1404, according to Baruffaldi, must have formed one of his earliest specimens at Bologna. He afterwards remained there many years, though I cannot think the date 1462, said to be attached to one of his histories, genuine; and, if there, it must have been added subsequently; but other proofs are not wanting of his permanent residence. For he there took the portrait of Niccolo Aretino, the sculptor, who died in 1417, as we are assured by Vasari; and on other authority, he produced some altar-pieces, one of which yet exists at S. Maria delle Rondini. It represents the Virgin sitting among various saints, and boasts, says Crespi, a depth of colouring, combined with architecture, countenances, and drapery not ill designed. He has also a Nunziata, in the Malvezzi museum, a picture displaying ancient design, but well finished and of soft colouring. His best piece was a history in fresco, representing the Obsequies of the Virgin, conducted by order of the Card. Bessarion, Bolognese legate, at S. Maria del Monte, in 1450; a work much admired by Crespi, in whose time it was destroyed. From similar facts, added to the commendations bestowed on Galasso by Leandro Alberti, I conclude that he must have obtained much reputation in the above city. He died in his native place, in what precise year is uncertain. Vasari treats of him at length in his first edition, but in the second he is dismissed with a few lines. Hence the Ferrarese also have directed against him the same complaints as the other schools.
In the time of Galasso flourished Antonio da Ferrara, a disciple of the Florentines. Vasari bestows on him a short eulogy, among the pupils of Angiolo Gaddi; observing that he "produced many fine works at S. Francesco d'Urbino, and at Città di Castello." Treating too of Timoteo della Vite, born at Urbino, the son of Calliope, daughter of Mastro Antonio Alberto da Ferrara, he adds, that this last artist was "a very fair painter for his age, such as his works at Urbino and elsewhere declare him." Nothing undoubted now remains of him; if, indeed, a picture on gold ground in the sacristy at S. Bartolommeo, representing the Acts of the holy Apostle, with others of the Baptist, in small figures, is not from his hand. The work doubtless belongs to that age; bearing much resemblance to Angiolo, with colours even more soft and warm. In Ferrara he left nothing that now survives; the chambers which he painted for Alberto d'Este, marquis of Ferrara, in his palace, afterwards changed into a public studio, being destroyed. This work was conducted about 1438, when the general council for the reunion of the Greeks was opened at Ferrara, in the presence of Pope Eugenius IV., and John Paleologus, the emperor. The Marquis ordered Antonio to represent this grand assembly on different walls, with the likenesses of full size of the principal personages then present. In other apartments he exhibited the Glory of the Blessed, which conferred on that place the name it still bears, of the Palace of Paradise. From a few relics of this work it may with certainty be deduced, that this artist displayed greater beauty in his heads, more softness of colouring, more variety in the attitude of his figures, than Galasso. Orlandi calls him Antonio da Ferrara, adding, that he flourished about the year 1500; a term of life too protracted for us to venture here to confirm.
Towards the middle of the fifteenth century appeared Bartolommeo Vaccarini, whose paintings, signed with the artist's name, Baruffaldi declares that he himself had seen. There was also Oliviero da S. Giovanni, a fresco painter, whose Madonnas were then by no means rare in the city. To these we may add Ettore Bonacossa, painter of that holy image of our Lady called del Duomo, which not long ago was solemnly crowned, at the foot of which is read the name of Ettore, and the year 1448. Still they were only artists of mediocrity; but others attained greater celebrity, having modernized their style in some degree, after the example, as I incline to think, of two foreigners. One of these was Pier della Francesca, invited to Ferrara to paint in the palace of Schivanoia by Niccolo d'Este, as it is conjectured in a note to Baruffaldi. Surprised by sickness, he was unable to complete the work, but he painted there a few apartments, which yet remain as a model for young artists. The other was Squarcione, who also, in the days of Niccolo d'Este and his son Borso, opened a school in Padua; whose manner had followers without number throughout Italy, and must have influenced the Ferrarese artists; distant, perhaps, two days' journey from Padua.
Possessing such means appeared Cosimo Tura, whom Vasari and other historians term Cosmè, and give him as pupil to Galasso. He was court-painter in the time of Borso d'Este and Tito Strozzi, who left a poetic eulogy upon him. His style is dry and humble, as was customary in that age, still far removed from true dignity and softness. The figures are treated in the style of Mantegna, the muscles clearly expressed, the architecture drawn with care, the bassi-relievi highly ornamented, and laboured in the most minute and exact taste. This is remarkable in his miniatures, which are pointed out to foreigners in the choral books of the cathedral and the Certosa, as extreme rarities. Nor does he vary in his oil paintings; as in his Presepio, in the sacristy of the cathedral; the Acts of S. Eustace, in the monastery of S. Guglielmo; various Saints surrounding the Virgin, in the church of S. Giovanni. In his larger figures he is not so much commended; though Baruffaldi speaks highly of his works in fresco, in the forementioned palace of Schivanoia. The design was distributed into twelve compartments, in a grand hall; and it might well be entitled a small poetic series, representing the exploits of Borso. In each picture was included a month in the year, which was scientifically indicated with astronomical symbols and classical deities, adapted to each; an idea very probably borrowed from the saloon at Padua. In each month, too, was introduced the prince in his usual employment at such season; in the judgment-hall, in the chase, at spectacles, with great variety of circumstances, and full of poetry in the execution.
There was also an artist of considerable merit named Stefano da Ferrara, pupil to Squarcione, and recorded by Vasari, in the life of Mantegna, as a painter of few pieces, among which were the Miracles of S. Antonio painted round the ark. Though Vasari describes his works only as tolerable, it must be observed that he was considerably above mediocrity, at least in the smaller figures; since Michele Savonarola (de Laud. Patavii, 1. i.) says of the specimens before mentioned, that they seemed to move, while the dignity and importance of the place in which he painted conveys a high idea of his reputation. This work is lost; but there remains in the same temple a half-figure of the Virgin, which Vasari attributes to Stefano; and in the church of the Madonnina at Ferrara is one of his altar-pieces of S. Rocco, in a good manner. Baruffaldi supposes that he flourished till about 1500, when he found mention of the death of one Stefano Falsagalloni, a painter; an age very likely to be correct, when speaking of a contemporary of Mantegna. On the other side, there is cited an altar-piece at S. Maria in Vado, executed in 1531, but which might possibly come from the hand of another Stefano.
However it be respecting this epoch, certain it is, that towards the beginning of the sixteenth century Ferrara was in no want of celebrated artists; since Vasari, as we have observed in the Bolognese School, affirms that Gio. Bentivoglio caused his palace to be decorated "by various Ferrarese masters," besides those of Modena and of Bologna. Among these he included Francia, on whom, about 1490, he confers the name of "a new painter." In the list of artists of Ferrara I included Lorenzo Costa; and from the circumstance of Francia being then a "new painter," and other reasons, I drew an argument against the received opinion that Costa was the pupil of Francia; which, therefore, I shall not here repeat. I must not, however, omit other information respecting him, as connected with Ferrara, where he resided before coming into notice at Bologna. At court, as well as for private individuals, he there conducted pictures and portraits, with other works "held in much esteem;" and at the Padri di S. Domenico he painted the whole choir, now long since destroyed; where "we recognise the care which he used in the art, and how much study he bestowed upon his works." These, I believe, and other pieces conducted at Ravenna, acquired him reputation at Bologna, and disposed the Bentivogli to avail themselves of his talents.
It remains to discover on which of the Ferrarese artists who attended him, such commission was conferred. Cosmè and Stefano were then living; but it is known that more closely connected than these with the Bentivogli, was Cossa of Ferrara, a painter almost forgotten in his native place, from having resided so long at Bologna. Some of his pieces are still there, consisting of Madonnas, seated between saints and angels, with tolerably good architecture. One of these, bearing his name, and date of 1474, is now in the Institute, vulgar in point of features and but middling in colouring. This, however, is not his best specimen, there being two portraits of the Bentivogli, (one at the church of the Baracano, the other in the Merchants' palace,) from which I should conjecture that he is one of those artists of whom we are in search. Nor, at this time, is there any other Ferrarese artist whom I can add to him, besides Baldassare Estense, some of whose pictures, signed by himself, are cited by Baruffaldi; and in museums are some of his medals, two, more particularly, in honour of Ercole d'Este, Duke of Ferrara, very ably executed in the year 1472.
On the subject of first rate artists I am often constrained to introduce notices in different places; in particular, when they were employed in some cities, and in others became heads of schools. Such was Costa in respect to Ferrara. He formed pupils for other schools; as one Gio. Borghese, from Messina, and a Nicoluccio Calabrese, who, apprehending that he was caricatured in one of Costa's productions, fiercely assaulted, and almost despatched him with his dagger. I pass over others ascribed to him by Orlandi, Bottari, and Baruffaldi; in which they are mistaken, as I remarked in the School of Bologna, when treating of Francia. The Ferrarese constitute his real honour; Costa being here what Bellini was at Venice, and Francia at Bologna, the founder of a great school, and a public teacher. Some of his pupils competed with the best artists of the fourteenth century; and part approached the splendor of the golden age. We shall review the whole series, which, commencing at this period, and continuing to the following epoch, gives him a claim to a primary station among the masters of Italy. All his disciples became excellent designers and noble colourists, transmitting both these qualities to their successors. Their tints exhibit a peculiar kind of strength, or, as a great connoisseur used to express it, of fire and ardour, which often serves to characterize them in collections; a quality not so much derived from Costa as from some other masters.
Ercole Grandi, called by Vasari, in his life, Ercole da Ferrara, became an abler designer than his master Costa, and is greatly preferred to him by the historian. Such too I believe to have been the public opinion from the period when Grandi was employed with Costa at Bologna, in preference to whom he was invited to different places to paint alone. But his affection for his master, and his own modesty, led him to reject every advantageous offer; so that when Costa went to Mantua, he would have followed, had he been permitted so to do. Lorenzo, however, could no longer brook a disciple who already surpassed him; owing to which, and the necessity of completing the painting he had begun in the Garganelli chapel at St. Peter's, he left Grandi in his stead at Bologna. Ercole there produced a work which Albano pronounced equal to Mantegna, to Pietro Perugino, or any artist who professed the modern antique style; nor perhaps did any boast a touch altogether so soft, harmonious, and refined. He painted to advance the art, and spared neither time nor expense to attain his object, employing seven years on his fresco histories at St. Peter's; and five more in retouching them when dry. This was only at occasional intervals, employing himself at the same period in other works, sometimes at, and sometimes out of Bologna. He would even have continued to render his work more perfect, had it not been for the jealousy of some artists in the city, who nightly robbed him of his designs and cartoons, which so greatly incensed him that he abandoned his labours, and Bologna itself. Such is the account of Baruffaldi, and it agrees with the invidious character of certain artists of that period, drawn by Vasari, who in this respect also drew down upon himself the indignation of Malvasia.