. The painters of the school of Ferrara. a in Portooutside Ravenna in 1480, or, at least, finished beforeMarch, 1481.^ In this stately and finely-colouredpicture the Madonna and Child are enthroned above,with two women Saints, while below are St. Augustineand the blessed Pietro degli Onesti (the founder of thechurch at the end of the eleventh century). Throughthe open pedestal of the throne is seen an alluringlandscape, a city by the river shore with a pier andhills beyond, while on its base in grisaille are re-presented, as in bas-relief, the Massacre of theInnocents, the Adoration of the Mag
. The painters of the school of Ferrara. a in Portooutside Ravenna in 1480, or, at least, finished beforeMarch, 1481.^ In this stately and finely-colouredpicture the Madonna and Child are enthroned above,with two women Saints, while below are St. Augustineand the blessed Pietro degli Onesti (the founder of thechurch at the end of the eleventh century). Throughthe open pedestal of the throne is seen an alluringlandscape, a city by the river shore with a pier andhills beyond, while on its base in grisaille are re-presented, as in bas-relief, the Massacre of theInnocents, the Adoration of the Magi, and thePresentation in the Temple. In the corners abovethe arch, naked figures are seen of Samson andDavid—a peculiar decorative symbolism which weshall find repeated in a later work of the artist. The whole composition of the picture, the disposition of 1 Document first published by Corrado Ricci, in the BasscgnadArte, January, 1904. Venturi first showed that this picturepasaiug uudev the name of Stefiiuo da Ferrara, is by .InilriSllll KoHKini DKlOSITION FROM THK CROSS IJImneiistilil ColUrtioii Jli fave pdijc 54 ERCOLE DF ROBERTI 55 the figures and the structure of the throne, are verycharacteristic of the Ferrarese art of the Quattrocento,and strongly reminiscent of Turas altarpiece at Berhn ;but the types are Erooles own. After the completion of this monumental work,Ercole settled for a while at Bologna, where we findhim in 1482. There, for Domenico Garganelli, hedecorated a chapel in San Pietro (the older churchdestroyed in 1605 to give place to the present cathedral)with frescoes of the Passion and Death of Our Lady, inwhich latter he introduced the portrait of the are mentioned by Leandro Albert! ^ and describedat length by Vasari,^ but all that now remains to us ofthem is a sketch at Berlin for the Crucifixion. For thechurch of S. Giovanni in Monte, he painted three scenesof the Passion as the predella of the high altar, whichare also ci
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Keywords: ., bookcentury1900, bookdecade1910, bookidpaintersofschool00gardric
