. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . represented under theprotection of Hercules, on horse-back, surrounded by his suiteand family, and as general ofHoly Church. Costa also paintedthere the fable of Latona and thefrogs, the story of Coriolanus, aS Sebastian, scenes from the OldTestament, and a S John in thedesert. ~ Ferrara Gallery, room V. , wood, figures half and child between S Jerom aiid a bishop, perhaps by a pupilof Costa and Bonsignori. No. 12in the s
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . represented under theprotection of Hercules, on horse-back, surrounded by his suiteand family, and as general ofHoly Church. Costa also paintedthere the fable of Latona and thefrogs, the story of Coriolanus, aS Sebastian, scenes from the OldTestament, and a S John in thedesert. ~ Ferrara Gallery, room V. , wood, figures half and child between S Jerom aiid a bishop, perhaps by a pupilof Costa and Bonsignori. No. 12in the same collection representingthe Virgin adoring the child andsaints, is not by Costa. ^ Louvre, No. 175, canvas, h. by 1-93, inscribed: f. The picture came afterthe sack of Mantua into the cha-teau Richelieu in France. * London, collection of the lateSir Ch. Eastlake. To the left inthe nativity a kneeling figure. Inthe second composition Christ inthe tomb supported by angelswith S Jerom penitent to the lefthand; Calvary, and S Francis re-ceiving the stigmata in the dis-tance. The figures are thin andslender, but in Costas most chas-. Chap. XVII. COSTA. 549 madonna of Sant Andrea, though greatly injured, stillshows how deeply affected Costa had been by Umbrianmodels.^ We might almost conjecture that he had a share incertain frescos in Mantegnas chapel at Sant Andrea/-and in the room called the Schalcheria at Mantua/^ Weshould remember also that he may claim to have beenthe author of a portrait at the Uffizi which purports tobe Isabella of Mantua by Mantegna, and which we havebeen inclined to assign to Bonsignori.^ It is a likenesswhich certainly does not bear the stamp of Costa asunmistakeably as the fine one at the Pitti, in which thestrong brown tone, broad treatment and successfulmodelling of the masters best period prevail.*^ teued manner, the colour powerfuland bright. 1 Mantua, Sant Andrea, eap-pella San Silvestro. Virgin andchild between S^ Sebastian, Sil-ves
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Keywords: ., bookcentury1800, bookdecade1870, booksubject, booksubjectpainting
