File:The painters of the school of Ferrara (1911) (14765239731).jpg

Identifier: paintersofschool00gardrich (find matches)
Title: The painters of the school of Ferrara
Year: 1911 (1910s)
Authors: Gardner, Edmund Garratt, 1869-1935
Subjects: Painters -- Italy Ferrara Painters -- Italy Bologna Painting -- Italy Ferrara Painting -- Italy Bologna Ferrara (Italy) -- History Bologna (Italy) -- History
Publisher: London : Duckworth New York : Charles Scribner's Sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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rately copying from Raphael. Moreplausible is the almost contemporary statement ofLodovico Dolce, in his Dialogo della Pittura, whichis said to have been inspired by Titian himself, andin which he represents Pietro Aretino saying of thetwo Dossi: One of them stayed here at Venice forsome time to learn to paint with Titian, and the otherin Rome with Raphael; though he adds that in-stead they adopted such a clumsy manner that theyare unworthy of the pen of so great a poet asAriosto.^ It is possible, however, that, in the caseof Battista, this refers to a later epoch, as there isdocumentary evidence that he was in Rome, apparentlyworking under Raphael, in 1520, and he was there,most likely, from 1517 to 1524. Traces of Costas influence may be discerned inthe work of Dosso Dossi. In the formers admirableportrait of Battista Fiera in the National Gallery, weseem to find Dossos whimsical but powerful style of 1 I. p. 251. 2 Dialogo della Pittura intitolato VAretino (Venice, 1557), p. 9v. i:
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T.■tl o Ci o mO ^* DOSSO AND BATTISTA DOSSI 147 portraiture in germ, and the figure of St. John inCosta^s altarpiece, in the same collection, distinctlyanticipates the pose and character of Dosso*s similarpresentment of the Evangelist in the great picture fromSanf Andrea now in the pinacoteca at Ferrara. We have no documentary evidence of Dosso**? pre-sence in his native city until 1517, when both he andBattista first appear in the ducal service.^ He maywell have gone to Venice before 1506, when Costasschool was broken up. But, when the League ofCambrai bore fruit in war, and Duke Alfonso him-self, in 1510, took the field against the armies of therepublic, Venice became an intolerable place of resi-dence for a subject of the House of Este, and Dossojoined his former master at Mantua. There is docu-mentary evidence of his presence there in 1511 and1512. No traces remain of the work that heexecuted for the Gonzaga; but his stay at Mantuahas left its mark upon the history of art, for i

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