. The painters of the school of Ferrara. uously virile. Mr. Berenson has finely noticed the strangenessof the destiny by which both Raphael and Correggiomust be numbered among Turas artistic descendants :— Nothing could be more opposed to the noblegrace of the one, or the ecstatic sensuousness of theother, than the style of their Patriarch. His figuresare of flint, as haughty and immobile as Pharaohs, oras convulsed with suppressed energy as the gnarledknots in the olive tree. Their faces are seldom lit upwith tenderness, and their smiles are apt to turn intoarchaic grimaces. Their claw-like h
. The painters of the school of Ferrara. uously virile. Mr. Berenson has finely noticed the strangenessof the destiny by which both Raphael and Correggiomust be numbered among Turas artistic descendants :— Nothing could be more opposed to the noblegrace of the one, or the ecstatic sensuousness of theother, than the style of their Patriarch. His figuresare of flint, as haughty and immobile as Pharaohs, oras convulsed with suppressed energy as the gnarledknots in the olive tree. Their faces are seldom lit upwith tenderness, and their smiles are apt to turn intoarchaic grimaces. Their claw-like hands express themanner of their contact. Turas architecture is piledup and barocque, not as architecture frequently is inpainters of the earlier Renaissance, but almost as inthe proud palaces built for the Modes and landscapes are of a world which has these manyages seen no flower or green leaf, for there is no earth,no mould, no sod, onlv the inliospitable rock every- » •• •• ».• • » • • * • » » ». COSIMO Tlra MAUONXA AND CHir>D National (iallcry Id ft ICC inigt 18 COSIMO TURA 19 where. He seldom finds place even for the drycornel tree which other artists, trained at Padua, lovedto paint. ^ Only the supreme genius of a Mantegna could givelife to a world peopled with creations like these ; andTura, with all his high artistic gifts and real artisticfeeling, was a lesser man. Tura returned to Ferrara in 1456, and, in thefollowing year, was appointed painter to the court insuccession to Angelo da Siena. In 1458, he painteda Nativity for the Duomo, which is lost. To ap-proximately the same date belongs his St. Jerome,now in the National Gallery, for the Dukes newfoundation, the Certosa of San Cristoforo. Borsohimself cared less for art than his brother and pre-decessor, Leonello, had done, and regarded it as littlemore than a useful adjunct to the pomp and paradewith which he loved to dazzle his subjects and impressthe rest of Italy with hi
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