. The painters of the school of Ferrara. Christopher fording a river with the DivineChild in the background, and the donor kneeling onthe right. These two pictures, which in their brilliantcolouring (especially in the Borghese example) havea close affinity with Dosso, represent the painter atthe height of his powers. Signor Venturi notes ascharacteristic of Ortolano that his colours are usuallypale in the background, but gradually revive, andacquire a jewel-like splendour in the reds and greens,and that his trees have large and sparse leaves tendingto yellow. He calls attention to the way in w
. The painters of the school of Ferrara. Christopher fording a river with the DivineChild in the background, and the donor kneeling onthe right. These two pictures, which in their brilliantcolouring (especially in the Borghese example) havea close affinity with Dosso, represent the painter atthe height of his powers. Signor Venturi notes ascharacteristic of Ortolano that his colours are usuallypale in the background, but gradually revive, andacquire a jewel-like splendour in the reds and greens,and that his trees have large and sparse leaves tendingto yellow. He calls attention to the way in which thehouses are planted on stakes in the National Gallerypicture, as also in the background of the half-lengthfigure of St. Anthony of Padua in the Visconti-Venostacollection.^ Apparently a late work of Ortolano is the powerfuland impressive Picta in San Pietro at Modena, inwhich the Blessed Virgin is standing alone over thebody of the Saviour, appealing to all the world: O vos omnes, qui transitis per viam, attendite et I Loc. Anderson Ortolano DEPOSITIOX V\{Oy\ THE CROSSHorjfhese Gallery Tofm-c jHtyc 186 ORTOLANO 187 videte, si est dolor sicut dolor meus. ^ The colouringand landscape of the predella, two scenes from thelegend of St. Sebastian, again recall Dosso. Abeautiful example of Ortolanos work, on a smallerscale, is the little St. Sebastian, formerly ascribed toGarofalo, at Naples. None of the pictures universally accepted as byOrtolano are signed or dated. BarufFaldi ascribes tohim the picture of the Blessed Virgin and St. Josephadoring the Divine Child, dated 1513, from SanFrancesco, in the pinacoteca of Ferrara, in whichthe Madonna somewhat recalls Costa. This pictureis generally taken as an early Garofalo. The samehistorian of Ferrarese art cites as Ortolanos LordWimbornes great altarpiece of the Quattro Incoronati,painted in 1520, for San Niccolo at Ferrara; which,as we have seen, is tentatively assigned by SignorVenturi to Niccolo Pisano. There remains th
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