Italy: a handbook for travellersFirst Part (Nothern Italy) . g childless. He was the patron of the poets Tasso and Guarini (authorof the Pastor Fido; born at Ferrara in 1537, died at Venice in 1612).Goethe in his Torquato Tasso has drawn a faithful picture of the court ofFerrara about the year 1575, although a somewhat ideal colouring is givento some of the characters. His description of the attachment of Tasso toEleonora (1537-81), the youngest unmarried sister of the duke, is, however,not without foundation. Anna (1531-1607), one of the sisters, was marriedto the Due de Guise, and afterwards
Italy: a handbook for travellersFirst Part (Nothern Italy) . g childless. He was the patron of the poets Tasso and Guarini (authorof the Pastor Fido; born at Ferrara in 1537, died at Venice in 1612).Goethe in his Torquato Tasso has drawn a faithful picture of the court ofFerrara about the year 1575, although a somewhat ideal colouring is givento some of the characters. His description of the attachment of Tasso toEleonora (1537-81), the youngest unmarried sister of the duke, is, however,not without foundation. Anna (1531-1607), one of the sisters, was marriedto the Due de Guise, and afterwards to the Due de Nemours; Lucrezia(1534-98), the other sister, was the wife of the Duke of Urbino. AlphonsoII. was succeeded by Cesare d^Este, descendant of a natural son ofAlphonso I., but only as duke of Modena and Reggio, Ferrara and Com-acchio having been claimed by Pope Clement VIII. as vacant fiefs. In thehistory of art and science the renown of the House of Este is in Italy is known to fameThis lordly House as frequent guest can GeograrpiL. Anstattvon Wagner & Debes, Leipzig FERRARA. 50. Route. 337 The art of Painting was liberally patronised at Ferrara, as at all theother Italian courts, but the Ferrarese painters did not succeed in main-taining full independence. In the 15th century they were chiefly inllu-enced by the Paduan school and by Piero della Francesca of double influence is shown in the case of Cosimo Tura (1432-1495)and of Francesco Cossa, whose chief works are the frescoes in the Pa-lazzo Schifanoja (p. 339). The latter also practised his art at Costa (1460-1535), another Ferrarese master, left his home in hisyouth and came into intimate relations of action and reaction withFrancesco Francia, the chief master of the Bolognese school (comp. p. 344).The other great masters of the 16th cent, also owed much to externalsources. At their head stands Dosso Dossi (ca. 1479-1542), who shows theinfluence of Ariosto in
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