. The painters of the school of Ferrara. erto the painter of the Mantuan court,had died that same September, leaving unfinished thework that he had on hand for the Gonzaga in thepalace of San Sebastiano and elsewhere. On November16, 1506, a few days after the news of the revolutionin Bologna had reached Mantua, the Marchesana Isabellasent Costa a warm invitation, through Girolamo Casio,to come and take Mantegnas place. Costa instantlyaccepted, and by the end of the month we find himsettled at iVIantua, where he spent the nearly thirtyyears of life that still remained to him. He becamethe offic
. The painters of the school of Ferrara. erto the painter of the Mantuan court,had died that same September, leaving unfinished thework that he had on hand for the Gonzaga in thepalace of San Sebastiano and elsewhere. On November16, 1506, a few days after the news of the revolutionin Bologna had reached Mantua, the Marchesana Isabellasent Costa a warm invitation, through Girolamo Casio,to come and take Mantegnas place. Costa instantlyaccepted, and by the end of the month we find himsettled at iVIantua, where he spent the nearly thirtyyears of life that still remained to him. He becamethe official painter of the court, and, in 1509, theMarquis Francesco, in a decree couched in the mostflattering terms, conferred the citizenship of Mantuaupon him.^ In spite of the singularly unprogressivecharacter of his art, which did not escape the adversecriticism of his contemporaries, he enjoyed the highestesteem and munificent favour of the court till the do not find the same falling off in Francias1 C. DArco, op. T. j). FRANCESCO RAIBOLINI 99 !ater works as is noticeable in those of Costa. Thereis the inevitable transition from the robust vigour ofthe Ferrarese school of the Quattrocento to the graceand ideal beauty of the sixteenth century, tendin; alittle, at times, to mannerism and sentimentality; butit is comparatively slight. In the picture painted in1502 for the church of Sta. Cecilia in ]Modena, wherethe iVIadonna is seen above in an oval glory of cherubs,while the Divine Child, standing on her knee, blesses theSaints grouped in the landscape below, there is acertain resemblance in composition and other respectsto the works of Perugino; but any direct influence ofthe Umbrian master upon his Bolognese contemporarycan only have been indirect and transient.^ The farfiner altarpiece in San Martino at Bologna, executrdnot earlier than 1506, with its rich and sombre colour-ing, is more in his earlier, thoroughly Ferrarese mannerEnthroned over an arch through
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