. The painters of the school of Ferrara. ith which to compare it in the whole range of earlyFerrarese art. There is a tradition due, not to Tommasino deBianchi (as sometimes stated), but to Spaccini, aseventeenth-century Modenese writer, that Bianchi wasthe first master of Correggio. Be that as it may, onethinks of him as a little out of the main stream ofcontemporary Ferrarese art, no court painter like theothers, but living in his provincial city, working forchurches and confraternities, childless, and a littlesolitary—till the end came. In February, 1510,Tommasino de Bianchi thus records hi
. The painters of the school of Ferrara. ith which to compare it in the whole range of earlyFerrarese art. There is a tradition due, not to Tommasino deBianchi (as sometimes stated), but to Spaccini, aseventeenth-century Modenese writer, that Bianchi wasthe first master of Correggio. Be that as it may, onethinks of him as a little out of the main stream ofcontemporary Ferrarese art, no court painter like theothers, but living in his provincial city, working forchurches and confraternities, childless, and a littlesolitary—till the end came. In February, 1510,Tommasino de Bianchi thus records his death : Onthe eighth day of this month died maestro Francescode Biancho Frare, a perfect painter and excellent died of an incurable maladv which had lastedthree months, and he had no sons or daughters, andleft a large portion of his possessions to the poor forthe love of God. ^ A purely Ferrarese painter, who was probably (a& 1 Cf. Cronaca Modenese di Jacopino deBianchi^ p. 5in, 2 Tommasino de Biauchi, op. cit., I. p. Mdiiscll FkANCESCO CUPIU AND rSYCHK llertfonl House To face page 66 DOMENICO PAiNETTI 6-] Morelli suggests) a fellow-pupil with Bianchi in theschool of Tura, is Doiiienico Panetti.^ He was bornabout 1460, the son of a certain Gasparo de* Panetti,and died in 1512 or thereabouts. There are fewtraces of Turas influence in his surviving works, whichlack the characteristic vigour ojf the school. Vasari,not unjustly, speaks of his dry and laboured manner:avea lu manicra secca e stentata. His extant pictures,exclusively religious in subject, are for the most partstill in Ferrara. His types are commonplace and un-attractive, but his colouring is usually rich, and hislandscapes frequently pleasing. In some of his largerfigures, the minute treatment of the beard and hairhas a curiously incongruous effect. His best worksare a long Annunciation, superficially recalling thecomposition of the well-known picture attributed toAndrea Verrocchio in the Uff
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