. The painters of the school of Ferrara. roned between St. Apollonia and of Alexandria (the latter an unusuallybeautiful type) on a richly ornamented tabernacle, withSt. Lazzarus (as bishop of Marseilles) and St. Jeromebelow. The throne is adorned with painted basreliefs,tliree scriptural scenes with below them the labours ofHercules, clearly intended as a compliment to the Duke,while two prophets are seen in the spandrils above.^ The picture in the National Gallery is the centralpanel of an altarpiece painted for I^orcnzo Rovorella,the bishop of Ferrara, for the chapel of his fam
. The painters of the school of Ferrara. roned between St. Apollonia and of Alexandria (the latter an unusuallybeautiful type) on a richly ornamented tabernacle, withSt. Lazzarus (as bishop of Marseilles) and St. Jeromebelow. The throne is adorned with painted basreliefs,tliree scriptural scenes with below them the labours ofHercules, clearly intended as a compliment to the Duke,while two prophets are seen in the spandrils above.^ The picture in the National Gallery is the centralpanel of an altarpiece painted for I^orcnzo Rovorella,the bishop of Ferrara, for the chapel of his family inSan Giorgio (which, until the eleventh century, was thecathedral), some time before 1475.^ Our Lady is 1 Cf. Dukes and Poets in Ferrara, pp. 162, 15?., 325. 2 Cf. Bode, La Rcnaistance au Musie de Brrlin, in the Gazette (hiBeaux-Art.^, (1889), pp. 116. 117. ^ Cf. Venturi, in Arch. Utor. ddVArte, VII. pp. 90-93 ; Barotri,Scrie de Vesmvi ed Arcivcacovi di Ferrara (Ferraru, 1781), pp. RoVerella died iu 1474. 1,. 5 » ». Atiliraon COSIMO Tl KA IJOVEKELLA AND HIS IATKoN SAINTS To fuce paije 36 COSIMO TURA 27 enthroned with the Divine Child sleeping against herarm. The throne is decorated with bronze figures ofthe Evangelists and winged genii under an elaboratelyornamented arch. The rich yet quaint combinationof hues in the robes of the six angelic musicians is adelight to the eye, in spite of an unpleasing greenthat pervades the whole scheme of colour. The deepblue of heaven is above and below; and, notwith-standing the austere ugliness of the types, the effectis singularly impressive and unearthly, as of a vision,seen on the ramparts of Gods house, of the throne setup on some temple pinnacle in sheer ether. Theright wing of the picture, now in the Colonna palaceat Rome, shows Roverella himself kneeling^ (anadmirable piece of realistic portraiture), under thepatronage of St. Maurelius and St. Paul—the formera typical Italian prelate of the epoch. The left wing
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