. The painters of the school of Ferrara. nna delRiposo,* painted in 1526 for the cappella del parto inthe same church, in which Leonello dal Pero, thepatron of the chapel, is introduced; the Vision ofSt. Bruno, at Dresden, from the Certosa; the MaterDolorosa, also at Dresden. The latter is a strikingand deeply felt work, showing more originality of con-ception than is usual with this painter. The BlessedVirgin is praying over the sleeping Child, while akneeling Angel presents to her the crown of thorns andthe napkin of Veronica; behind her is a ruined temple,with a bas-relief representing a pa
. The painters of the school of Ferrara. nna delRiposo,* painted in 1526 for the cappella del parto inthe same church, in which Leonello dal Pero, thepatron of the chapel, is introduced; the Vision ofSt. Bruno, at Dresden, from the Certosa; the MaterDolorosa, also at Dresden. The latter is a strikingand deeply felt work, showing more originality of con-ception than is usual with this painter. The BlessedVirgin is praying over the sleeping Child, while akneeling Angel presents to her the crown of thorns andthe napkin of Veronica; behind her is a ruined temple,with a bas-relief representing a pagan sacrifice. Angelsgather above on the clouds, with the emblems of thePassion, while, higher still, another group of spirits I In this picture, the Divine Child holds a carnation {garofalo)^a flower which the painter frequently introduces as a kind of signa-ture. His upual signature is Bcnvegnu de Garofalo, but he hasseveral variants, such as Benvenut. Garofalo. No other Ferrarese(«ave Panetti and Costa) so constantly signs his Renvenuto Garofalo OUR LADY OF SORROWDresden /)) /tier /,/< 17G GAROFALO 177 bears a tablet with the inscription : Tuaui ipsiusannnam gladius pertranslbit. Garofalo was likewise frequently employed indecorating the palaces of the Ferrarese nobles. Oneof his earliest works in this kind was the painting oftwo ceilings in the Palazzo Trotti, now the Seniinario,in 1519. The better preserved of the two shows theinfluence both of Raphael and of Mantegna*s famousceiling in the Camera degli Sposi at Mantua. Mytho-logical and scriptural scenes are mingled with idealportraits of philosophers and groups of naked children,all being in grisaille save the men and women, amongwhom are a negro and an ape, who look down from theparapet. There is an air of grave and gracious pro-fusion about the whole composition, above which therather plebeian heads, with their note of colour, peeptlirough like a sudden intrusion of reality. Fewbuildings in Italy, wrote More
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Keywords: ., bookcentury1900, bookdecade1910, bookidpaintersofschool00gardric
