. The painters of the school of Ferrara. ot that 1 might seem to some to have fallenby excessive love into an immoderate semblance ofadulation. But love and the sweetness of the manscharacter have withdrawn me too long from my theme.* ^ This dulcedo viri, the sweetness of his character,seems to have deeply impressed Francias contem-poraries, and is reflected in all his art. Francia*s series of great altarpieces begins with theMadonna and Child with six Saints, painted in 1494,for the Felicini chapel in the Madonna della Miseri-cordia outside the Porta Castiglione of (who wrongly
. The painters of the school of Ferrara. ot that 1 might seem to some to have fallenby excessive love into an immoderate semblance ofadulation. But love and the sweetness of the manscharacter have withdrawn me too long from my theme.* ^ This dulcedo viri, the sweetness of his character,seems to have deeply impressed Francias contem-poraries, and is reflected in all his art. Francia*s series of great altarpieces begins with theMadonna and Child with six Saints, painted in 1494,for the Felicini chapel in the Madonna della Miseri-cordia outside the Porta Castiglione of (who wrongly dates it 1490) declares that this was Francias first picture ; but it is evidently the work in hiB dedication of the volume to G. A. Bentivoglio, says : * Eiusimftginem intra cubiculum tuum habere voluisti, depictam in coetupapientum, ab aurifice nobilissimo Francia. This is probably the di?puta di filoaofi, mentioned by Vasari, III. p. 539. 1 Codri Vita, ed. cit., f. LXixv. Antonio Urceo died in February,1600. ?* ^ •> -,• •. IKANrr A iMnrnjAiT of BrAXCuixi Niitioual Giillery To I(((•<? jiiiiit 82 FRANCESCO RAIBOLINI 83 of an accomplished and practised master. The por-trait of the kneehng donor, Bartolommeo Felicini, whocommissioned the painting as a thankoffering for hisrecovery from ilhiess, is exceedingly fine, and the lute-playing Angel at the foot of the throne is a delightfulmotive, which became very characteristic of Francia forthe next six years, but which he appears to have com-pletely abandoned in his later works. The most important and best preserved of Franciasworks of this epoch is the altarpiece painted forGiovanni Bentivoglio in 1499, for the Bentivogliochapel in San Giacomo Maggiore, of which the wallswere already decorated with Lorenzo Costas , the richest in colouring of all the painters works,has much of the robust vigour of the Ferrarese school,with somewhat less of that peculiar religious sentimentwhich, now and then
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