. The painters of the school of Ferrara. e founder of the school ofFerrara and Bologna. His influence was supreme overall the painters of the dominions ruled by the Houseof Este in the latter part of the fifteenth century, andreached onwards even to Raphael and the numerous pictures by unidentified followersof his, must be mentioned the Charity with three putt%in the Museo Poldi Pezzoli at Milan, a finely colouredwork in which the chief figure, at least, has little ofthe masters characteristic uncouthness; and the well-known Martyrdom of St. Sebastian, which, from theGuggenheim
. The painters of the school of Ferrara. e founder of the school ofFerrara and Bologna. His influence was supreme overall the painters of the dominions ruled by the Houseof Este in the latter part of the fifteenth century, andreached onwards even to Raphael and the numerous pictures by unidentified followersof his, must be mentioned the Charity with three putt%in the Museo Poldi Pezzoli at Milan, a finely colouredwork in which the chief figure, at least, has little ofthe masters characteristic uncouthness; and the well-known Martyrdom of St. Sebastian, which, from theGuggenheim collection at Venice, was obtained for theDresden Gallery in 1896. The latter picture wasoriginally ascribed to Lorenzo Costa, by reason of aninscription which it bears, in Hebrew, declaring it the 1 Veuturi, Qotuia Tura genannt Come, p. 31 ; Varte ferrarese nelj)eriodo d-E/cnh I, II. pp. 368, 360. He shows tliat the St. Anthonyat l^Iodena \^ n part of the oUfirpieoe for San Niocol5. « CftmpoH, op. p. 562. 1 » » (> .» >. AiififrHOH Scnooi. OK TURA (HAUITV Idl li Ilzzoli ^hisfuiii 7« fail- j>ii!/i- 30 COSIMO TURA 31 work of that painter. It was first attributed to Turaby Morelli. It exhibits none of Turas uncouthvigour ; its colouring is somewhat unHke his, and thetreatment of drapery, as seen in the martyr*s loincloth,is not the same. With Signor Venturi,^ I find ithard to recognise this curious picture as an authenticwork of Turas. It appears to me not impossible thatit may be, after all, a very early work by Costa,painted when under the influence, perhaps actually inthe school, of the older master. 1 Cf. ZJre<{1908), p. 422. CHAPTER III FRANCESCO DEL COSSA: THE FRESCOESOF THE SCHIFANOIA Comparatively little is known of the master who signshimself Francesco del Cossa, and who may be regardedas the second founder of the Ferrarese school. He wasprobably born in 1438, some eight or nine years afterTura, and was the son of Cristoforo del Cossa, amilitary ar
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