. The painters of the school of Ferrara. nti (what we should nowcall the Chamber of Commerce), in 1474, and signedFranciscus Cossa Ferrariensis. It is a stately andaustere composition, in which the Madonna and theDivine Child are enthroned between St. Petronius andSt. John the Evangelist, while Alberto de* Cataneikneels at the side of the throne, and the Annunciationis seen above. The types are uncompromisingly grimand ugly, but the modelling of the heads of the twoSaints is admirable, particularly that of St. Petronius,who is probably the portrait of some eminent church-an of the time. This i
. The painters of the school of Ferrara. nti (what we should nowcall the Chamber of Commerce), in 1474, and signedFranciscus Cossa Ferrariensis. It is a stately andaustere composition, in which the Madonna and theDivine Child are enthroned between St. Petronius andSt. John the Evangelist, while Alberto de* Cataneikneels at the side of the throne, and the Annunciationis seen above. The types are uncompromisingly grimand ugly, but the modelling of the heads of the twoSaints is admirable, particularly that of St. Petronius,who is probably the portrait of some eminent church-an of the time. This is the last of Cossas works that can beidentified. He died in 1480 or thereabouts. Beforehis death he appears to have taken part in the decora- 1 Cf, Gruyer, II. pp. 116, 117; Ricci, Guida di Bologna, p. 51. Itis doubtful whether the portraits of Bente Bentivoglio, the ori/rinaldonor of the work, and Maria Vincij^uerra, who began the devotionto this Madonna, are by Cossa. • •. • J ,* J » » * • >;••;* f»» •»»•». O - S3 ! FRANCESCO DEL COSSA 45 tion of the palace of Giovanni Bentivoglio, doomed topopular destruction in 1507. A few portraits areattributed to him, but their authenticity is rightlydisputed. Those of Giovanni Bentivoglio and hiswife, Ginevra Sforza, in the possession of M. GustaveDreyfus, ascribed to Cossa by Dr. Bode, are probablyby a later hand. The youth in red, seen in profile,signed A. F. P., in the Museo Civico at Venice, like-wise ascribed to Cossa by Dr. Bode and tentativelyaccepted by Mr. Berenson, seems unlike his usual colour-ing, too weakly modelled and superficially characterised ;the tradition attributing it to Ansuino da Forli, one ofthe painters of the chapel of the Eremitani, may stillbe provisionally adopted. There remains the portraitof a young nobleman, belonging to Mr. Drury-Lowe,which was first attributed to our painter by Phillips. It suggests the manner of Pierode* Franceschi, while recalling the portraits in
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