. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . thatthe miniatures on silk at the Hotel Cluny in Paris are by Tura, andas to miniatures in general, it hasbeen supposed, that Tura had ashare in those of the chorals andantifoners of the Ferrarese cathe-dral, but these are proved to beby other hands. (See a letter ofLuigi Napoleone Cittadella to Giordani, in the GazzettaFerrarese of April 29, 1862, andDon Giuseppe Antonellis records,in Gualandi Memorie u. s. p. 153.) Long l
. A history of painting in north Italy; Venice, Padua, Vicenza, Verona, Ferrara, Millan, Friuli, Brescia, from the fourteenth to the sixteenth century . thatthe miniatures on silk at the Hotel Cluny in Paris are by Tura, andas to miniatures in general, it hasbeen supposed, that Tura had ashare in those of the chorals andantifoners of the Ferrarese cathe-dral, but these are proved to beby other hands. (See a letter ofLuigi Napoleone Cittadella to Giordani, in the GazzettaFerrarese of April 29, 1862, andDon Giuseppe Antonellis records,in Gualandi Memorie u. s. p. 153.) Long lists of pictures alleged tohave been done by Tura are to befound in Baruffaldi, u. s. I. 67 to122, but there is too great a ten-dency in the author and his an-notators, to assign low classworks of doubtful origin to knownauthors, and criticism on thisnomenclature would be a waste oftime and space. Cittadella (Ricordi, pp. 8 to15, and Notizie, p. 569.) cannot ex-plain this legacy to the poor ofVenice. Tura leaves no such be-quests to the poor of Ferrara, buthe puts by a sura of money forbuilding a church there. 2 Cittadella, Notizie, u. s. p. Chap. XVII. FRANCESCO COSSA. 523 residence to Bologna, where he is justly celebrated fortwo great creations, the Virgin and child with saintsand a donor engraved in these pages, and the Madonnadel Barracano, both masterpieces of one period. That Cossa issued from the same school as Tura isevident from his pictures, which closely resemble Turasin searching outline, correct distribution of space, andbrown tinge of tempera; but his art is of a higher andmore elevated class, especially in architectural and acces-sorial detail. Severe grandeur and dignity of mien dwellin the figures*, a sculptural breadth distinguishes thedraperies, but models of stone seem studied in preferenceto nature; the outlines are clean and firm, renderingnude and extremities with accurate perspective andanatomy; relief is obtained by correct shading, model-ling, an
Size: 1512px × 1651px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1870, booksubject, booksubjectpainting
