In the chapel of Garganelli Ercole painted, on one side, the Death of the Virgin, and on the other the Crucifixion of Christ; nor did he produce in such a variety any one head like another. He also added a novelty in his draperies, a knowledge of foreshortening, an expression of passionate grief, "such," says Vasari, "as can scarcely be conceived." The soldiers "are finely executed, with the most natural and appropriate action that any figures up to that time had displayed." Many years ago, when this chapel was taken down, as much as possible of Ercole's painting was preserved, and placed in the wall of the Tanara palace, where it may still be seen. It is indeed his masterpiece, and one of the most excellent that appeared in Italy during his times, in which the artist seemed to have revived the example of Isocrates, who devoted so many years to the polish of his celebrated panegyric. There is little else of his remaining at Bologna; but at S. Paolo in Ferrara is a genuine altar-piece, and nothing more in public. Some other of his works are preserved in the church of Porto in Ravenna, and some pictures in the public palace at Cesena. He has some specimens in foreign galleries; two of his pictures are at Dresden, a few others at Rome and Florence; though frequently his name has been usurped by that of another painter, Ercole not having enjoyed the celebrity which he deserved. Thus his picture of the Woman taken in Adultery, used to be pointed out in the Pitti palace for a work of Mantegna. For the rest, his paintings are extremely rare, as he did not survive beyond his fortieth year, during which period he painted with the caution of a modest scholar, more than with the freedom of a master.
Lodovico Mazzolini is not to be confounded with the Mazzolino mentioned by Lomazzo in his "Idea of the Temple or Theatre of Painting;" thus entitling Francesco Mazzuola, as if in sport. Mazzolini of Ferrara was transformed by Vasari into Malini, by a Florentine writer into Marzolini, and by others divided into two, so as to become a duplicate, and answer for two painters—one Malini, another Mazzolini; both of Ferrara, and pupils to the same Costa. To crown his misfortunes, he was not sufficiently known to Baruffaldi himself, who described him as "no despicable scholar of Costa," having probably seen only some of his more feeble efforts. He did not excel in large figures, but possessed very rare merit in those on a smaller scale. At S. Francesco in Bologna is one of his altar-pieces, the Child Jesus disputing in the Temple; to which is added a small history of his birth. It was admired by Baldassare da Siena; and Lamo, in his MS. often before cited, describes it as an excellent production; but this piece was retouched by Cesi. Other little pictures, and among these the duplicates of his histories already recorded, are to be seen at Rome in the Aldobrandini gallery, presented, perhaps, as a legacy by the Cardinal Alessandro, who in Mazzolini's time was legate at Ferrara. Other pieces are at the Campidoglio, formerly belonging to Card. Pio, as I gather from a note of Mons. Bottari. From such specimens, in considerable number and genuine, we may form an idea of Mazzolini's manner, which Baruffaldi laments should continue to be one nearly unknown to the dilettanti. It displays an incredible degree of finish; sometimes appearing in his smallest pictures like miniature; while not only the figures, but the landscape, the architecture, and the bassi-relievi, are most carefully executed. There is a spirit and clearness in his heads, to which few of his contemporaries could attain; though they are wholly taken from life, and not remarkably select; in particular those of his old men, which in the wrinkles and the nose sometimes border on caricature. The colour is of a deep tone, in the style before mentioned; not so soft as that of Ercole; with the addition of some gilding even in the drapery, but sparingly applied. In some collections his name has been confounded with that of Gaudenzio Ferrari, perhaps derived by mistake from Lodovico da Ferrara. Thus, in the royal gallery at Florence, a little picture of the Virgin and Holy Child, to whom S. Anna is seen presenting fruits, with figures of S. Giovacchino and another saint, has been attributed to Ferrari. But it is the work of Mazzolini, if I do not deceive myself, after the comparison made with others examined at Rome.
From the resemblance of his style to Costa, and even superior in the heads, it is conjectured that Michele Coltellini sprung from the same school. Some specimens of his works are recorded in the church and convent of the PP. Agostiniani of Lombardy, two of which yet remain in existence; one an altar-piece at the church, in the usual composition of the fourteenth century, and in the refectory a S. Monica with four female saints belonging to that order. The date inscribed, together with his name, on an altar-piece, informs us that he was still living in the year 1517. It is uncertain in what school Domenico Panetti received his education; but I know that his works, during several years, appear only feeble efforts. His former pupil, Garofolo, however, returning subsequently from Rome, after acquiring the new style under Raffaello, he received his old master, Panetti, as a pupil, and so greatly improved him as to render his latter works worthy of competition with the best masters of the fourteenth century. Such is his St. Andrew, at the Agostiniani, just before recorded, in which he displays not only accuracy, but, what is far more rare for his times, a dignified and majestic manner. The artist's name, which is affixed, with several other works conducted in the same taste (one of which is now seen in Dresden) bear evidence of a change in pictoric character without example. Gio. Bellini and Pietro Perugino, indeed, improved themselves upon the models of their disciples, but they had previously attained the rank of eminent masters, which cannot be averred of Panetti. Vasari relates that Garofolo was pupil to Domenico Lanero, in Ferrara; an error resembling that of Orlandi, who terms him Lanetti, and all these are the same individual Domenico Panetti. He flourished some years during the sixteenth century, in the same manner as the two Codi, and the three Cotignoli, who though belonging to lower Romagna, having flourished abroad, have been included in the school of Bologna, or in its adjacent places. A few others, known only by their names, such as Alessandro Carpi, or Cesare Testa, may be sought for in the work of Cittadella.
SCHOOL OF FERRARA.
EPOCH II.
Artists of Ferrara, from the time of Alfonso I. till Alfonso II., last of the Este family in Ferrara, who emulate the best Italian styles.
The most flourishing epoch of the Ferrarese School dates its commencement from the first decades of the sixteenth century. It traces its source to two brothers named Dossi, and to Benvenuto da Garofolo, or, more correctly perhaps, to Duke Alfonso d'Este, who employed them in his service, so as to retain them in their native place, where they might form pupils worthy of themselves. This prince, whose memory has been embalmed by so many distinguished poets, was peculiarly attached to the fine arts. In his court Titian painted, and Ariosto conferred with him upon the subjects of his pencil, as we learn from Ridolfi in the life of Titian himself. This was subsequent to the year 1514, when Gian Bellini, already old, left in an unfinished state his noble work of the Bacchanals, which has long decorated the Aldobrandini gallery at Rome; and when Titian was called upon to complete it. He likewise conducted various paintings in fresco, which still remain in a small chamber, in the palace of Ferrara; besides others in oil, such as portraits of the duke and duchess, and his celebrated Cristo della Moneta, which we have extolled for one of his most studied productions. Pellegrino da S. Danielle, another pupil of Gian Bellini, but not to compare with Titian, though not inferior to many of the same school, was retained and honoured by the same court, where he left a few works,[58] of which there remains no account, or confounded, perhaps, with those of Dosso, an artist of much celebrity, and of various styles, at the same court, as we now proceed to shew.
Assisted by such models, the talents of Dosso Dossi, and of his brother, Gio. Batista, born at Dosso, a place near Ferrara, may have been considerably improved. They were, first, pupils to Costa, and afterwards, says Baruffaldi, resided six years at Rome, and five in Venice, devoting themselves to the study of the best masters, and drawing portraits from life. By such means they formed their peculiar character, but of different kinds. Dosso succeeded admirably in figures, while Gio. Batista was perhaps below mediocrity. Still he aimed at them; sometimes even in spite of his brother's remonstrances, with whom he lived at continual variance, though unable to separate from him by command of the prince who gave him as his brother's assistant. He was thus like a slave at the oar, ever drudging against his will; and when obliged to consult respecting their common labours, he wrote what suggested itself, refusing to communicate by word of mouth. Envious and spiteful in his mind, he was equally deformed in person, expressing as it were the picture of his internal malignity. His real talent lay in ornamenting, and still more in landscape, a branch in which, according to Lomazzo, he was inferior neither to Lotto, to Gaudenzio, to Giorgione, nor to Titian. There remain some specimens of his friezes in the palace of the Legation, and in still better preservation some works noticed by Baruffaldi at the villa of Belriguardo.
The two brothers obtained constant employment at Alfonso's court, and subsequently from Ercole II. They, likewise, composed the cartoons for the tapestries at the cathedral of Ferrara, and for those which are in Modena, part at S. Francesco and part at the ducal palace, representing various exploits of the Esti. How far Vasari may be entitled to credit in his account of Ercole's invitation of Pordenone to compose cartoons for his tapestries, there being no good figurists at Ferrara for "themes of war," it is difficult to decide. He adds, that Pordenone died there, shortly after his arrival, in 1540, as was reported, by poison. This assertion, by no means flattering to the Dossi who then flourished, has not been noticed, I believe, by any Ferrarese writers, who else would, doubtless, have defended their reputation by citing the exploits of arms figured in a variety of tapestries. On other points, indeed, this has been done, particularly in regard to their paintings, which decorated a chamber of the Imperiale, a villa belonging to the dukes of Urbino. It is observed by Vasari, that "the work was conducted in an absurd style, and they departed from the Duke Francesco Maria's court in disgrace, who was compelled to destroy all they had executed, and cause the whole to be repainted from designs by Genga." The answer made to this is, that the destruction of that work was owing to the jealousy of their competitors, and still more "to the policy of that prince, who did not wish his artists of Urbino surpassed by those of Ferrara." These are the words of Valesio, from Malvasia, (vol. ii. p. 150) though I believe that too much deference was paid to Valesio in adopting such an excuse; as it seems inconsistent with the judgment and taste of the prince to suppose him capable of this species of barbarism, and from the motive which is adduced. I rather apprehend that the work must have failed by the fault of Gio. Batista, who, dissatisfied with his allotted grotesques and landscapes, insisted on shining as a figurist. There is a similar example in a court-yard of Ferrara, where he inserted some figures against Dosso's wishes, and acquitted himself ill. For the rest, a much better defence of their talents was made by Ariosto. For he not merely availed himself of Dosso's talents to draw his own portrait, and the arguments to the cantos of his Furioso, but has immortalized both his and his brother's name, along with the most eminent Italian painters when he wrote, "Leonardo, Andrea Mantegna, e Gian Bellino, Duo Dossi;" names which are followed by those of Michelangiolo, Raffaello, Tiziano, and Sebastiano del Piombo. Such commendation was not a mere tribute to friendship, but to Dosso's merit, always highly extolled likewise by foreigners. His most distinguished works are now perhaps at Dresden, which boasts seven of them, and in particular the altar-piece of the four Doctors of the Church, one of his most celebrated pieces. His St. John in Patmos is at the Lateranensi in Ferrara; the head, free from any retouching, is a masterpiece of expression, and acknowledged by Cochin himself to be highly Raffaellesque. But his most admired production was at the Domenicani of Faenza, where there is now a copy, the original having been removed on account of its decay. It exhibits Christ disputing among the doctors; the attitudes so naturally expressive of surprise, and the features and draperies so well varied, as to appear admirable even in the copy. There is a little picture on the same subject in the Campidoglio, formerly belonging to Card. Pio of Ferrara, full of life, polish, and coloured with most tasteful and mellow tints. By the same hand I have seen several "Conversazioni" in the Casa Sampieri at Bologna, and a few Holy Families in other collections, one in possession of Sig. Cav. Acqua at Osimo. In pictoric works I sometimes find him compared with Raffaello, sometimes with Titian or Coreggio; and certainly he has the gracefulness, the tints, and chiaroscuro of a great master. He retains, however, more of the old style than these artists, and boasts a design and drapery which attract the spectator by their novelty. And in some of his more laboured pieces he adds to this novelty by a variety and warmth of colours which nevertheless does not seem to diminish their union and harmony.