(W. W. R.*)
FERRARI, GAUDENZIO (1484-1549), Italian painter and sculptor, of the Milanese, or more strictly the Piedmontese, school, was born at Valduggia, Piedmont, and is said (very dubiously) to have learned the elements of painting at Vercelli from Girolamo Giovenone. He next studied in Milan, in the school of Scotto, and some say of Luini; towards 1504 he proceeded to Florence, and afterwards (it used to be alleged) to Rome. His pictorial style may be considered as derived mainly from the old Milanese school, with a considerable tinge of the influence of Da Vinci, and later on of Raphael; in his personal manner there was something of the demonstrative and fantastic. The gentler qualities diminished, and the stronger intensified, as he progressed. By 1524 he was at Varallo in Piedmont, and here, in the chapel of the Sacro Monte, the sanctuary of the Piedmontese pilgrims, he executed his most memorable work. This is a fresco of the Crucifixion, with a multitude of figures, no less than twenty-six of them being modelled in actual relief, and coloured; on the vaulted ceiling are eighteen lamenting angels, powerful in expression. Other leading examples are the following. In the Royal Gallery, Turin, a “Pietà,” an able early work. In the Brera Gallery, Milan, “St Katharine miraculously preserved from the Torture of the Wheel,” a very characteristic example, hard and forcible in colour, thronged in composition, turbulent in emotion; also several frescoes, chiefly from the church of Santa Maria della Pace, three of them being from the history of Joachim and Anna. In the cathedral of Vercelli, the choir, the “Virgin with Angels and Saints under an Orange Tree.” In the refectory of San Paolo, the “Last Supper.” In the church of San Cristoforo, the transept (in 1532-1535), a series of paintings in which Ferrari’s scholar Lanini assisted him; by Ferrari himself are the “Birth of the Virgin,” the “Annunciation,” the “Visitation,” the “Adoration of the Shepherds and Kings,” the “Crucifixion,” the “Assumption of the Virgin,” all full of life and decided character, though somewhat mannered. In the Louvre, “St Paul Meditating.” In Varallo, convent of the Minorites (1507), a “Presentation in the Temple,” and “Christ among the Doctors,” and (after 1510) the “History of Christ,” in twenty-one subjects; also an ancona in six compartments, named the “Ancona di San Gaudenzio.” In Santa Maria di Loreto, near Varallo (after 1527), an “Adoration.” In the church of Saronno, near Milan, the cupola (1535), a “Glory of Angels,” in which the beauty of the school of Da Vinci alternates with bravura of foreshortenings in the mode of Correggio. In Milan, Santa Maria delle Grazie (1542), the “Scourging of Christ,” an “Ecce Homo” and a “Crucifixion.” The “Scourging,” or else a “Last Supper,” in the Passione of Milan (unfinished), is regarded as Ferrari’s latest work. He was a very prolific painter, distinguished by strong expression, animation and fulness of composition, and abundant invention; he was skilful in painting horses, and his decisive rather hard colour is marked by a partiality for shot tints in drapery. In general character, his work appertains more to the 15th than the 16th century. His subjects were always of the sacred order. Ferrari’s death took place in Milan. Besides Lanini, already mentioned, Andrea Solario, Giambattista della Cerva and Fermo Stella were three of his principal scholars. He is represented to us as a good man, attached to his country and his art, jovial and sometimes facetious, but an enemy of scandal. The reputation which he enjoyed soon after his death was very great, but it has not fully stood the test of time. Lomazzo went so far as to place him seventh among the seven prime painters of Italy.
See G. Bordiga, two works concerning Gaudenzio Ferrari (1821 and 1835); G. Colombo, Vita ed opere di Gaudenzio Ferrari (1881); Ethel Halsey, Gaudenzio Ferrari (in the series Great Masters, 1904).
There was another painter nearly contemporary with Gaudenzio, Difendente Ferrari, also of the Lombard school. His celebrity is by no means equal to that of Gaudenzio; but Kugler (1887, as edited by Layard) pronounced him to be “a good and original colourist, and the best artist that Piedmont has produced.”
(W. M. R.)
FERRARI, GIUSEPPE (1812-1876), Italian philosopher, historian and politician, was born at Milan on the 7th of March 1812, and died in Rome on the 2nd of July 1876. He studied law at Pavia, and took the degree of doctor in 1831. A follower of Romagnosi (d. 1835) and Giovan Battista Vico (q.v.), his first works were an article in the Biblioteca Italiana entitled “Mente di Gian Domenico Romagnosi” (1835), and a complete edition of the works of Vico, prefaced by an appreciation (1835). Finding Italy uncongenial to his ideas, he went to France and, in 1839, produced in Paris his Vico et l’Italie, followed by La Nouvelle Religion de Campanella and La Théorie de l’erreur. On account of these works he was made Docteur-ès-lettres of the Sorbonne and professor of philosophy at Rochefort (1840). His views, however, provoked antagonism, and in 1842 he was appointed to the chair of philosophy at Strassburg. After fresh trouble with the clergy, he returned to Paris and published a defence of his theories in a work entitled Idées sur la politique de Platon et d’Aristote. After a short connexion with the college at Bourges, he devoted himself from 1849 to 1858 exclusively to writing. The works of this period are Les Philosophes Salariés, Machiavel juge des révolutions de notre temps (1849), La Federazione repubblicana (1851), La Filosofia della rivoluzione (1851), L’ Italia dopo il colpo di Stato (1852), Histoire des révolutions, ou Guelfes et Gibelins (1858; Italian trans., 1871-1873). In 1859 he returned to Italy, where he opposed Cavour, and upheld federalism against the policy of a single Italian monarchy. In spite of this opposition, he held chairs of philosophy at Turin, Milan and Rome in succession, and during several administrations represented the college of Gavirate in the chamber. He was a member of the council of education and was made senator on the 15th of May 1876. Amongst other works may be mentioned Histoire de la raison d’état, La China et l’ Europa, Corso d’ istoria degli scrittori politici italiani. A sceptic in philosophy and a revolutionist in politics, rejoicing in controversy of all kinds, he was admired as a man, as an orator, and as a writer.
See Marro Macchi, Annuario istorico italiano (Milan, 1877); Mazzoleni, Giuseppe Ferrari; Werner, Die ital. Philosophie des 19. Jahrh. vol. 3 (Vienna, 1885); Überweg, History of Philosophy (Eng. trans. ii. 461 foll.).