. The painters of the school of Ferrara. nal.), I. p. 201 n.« See below, Chapter IX. 68 THE SCHOOL OF FERRARA his pictures (in which practice he was imitated by hispupil Garofalo); but, with the exception of the altar-piece of 1503 from the church of S. Giobbe atFerrara, now in the collection of Herr von Kaufmannat Berlin/ seldom dates them. They exhibit littlevariation or progress. There is documentary evidencethat, in 1506, he executed a ceiHng-painting, probablymythological in subject, for the private room of thenew duchess, Lucrezia Borgia, in the Torre Marchesanaof the Castello Vecchio. T
. The painters of the school of Ferrara. nal.), I. p. 201 n.« See below, Chapter IX. 68 THE SCHOOL OF FERRARA his pictures (in which practice he was imitated by hispupil Garofalo); but, with the exception of the altar-piece of 1503 from the church of S. Giobbe atFerrara, now in the collection of Herr von Kaufmannat Berlin/ seldom dates them. They exhibit littlevariation or progress. There is documentary evidencethat, in 1506, he executed a ceiHng-painting, probablymythological in subject, for the private room of thenew duchess, Lucrezia Borgia, in the Torre Marchesanaof the Castello Vecchio. This tela istoriata has naturallydisappeared. With the exception of two pictures atBerlin, the only work out of Italy attiibuted to himis a little panel of Our Lady adoring the DivineChild, in the Louvre, which has but slight resemblancewith his style, and which Mr. Berenson conjecturesmay possibly be an early painting of Ortolano. 1 Cf. Harck, Opffre di Maestri Ferraresi in raccolte private aBeJlino, in Arch. Stor. delVArtey I, p. .Iiidcrsiin DoMKMCo rAM/rri MADONNA AND Modcna 7() l(tri i>(i(i<- 68 CHAPTER V LORENZO COSTA AND FRANCESCORAIBOLINI I The partnership between Costa and Francia marks an epoch in the history of painting in the EmiHan cities. These two men held much the same ^josition in the school of Ferrara at the end of the Quattrocento and beginning of the Cinquecento as Cosimo Tura and Francesco del Cossa had done in the seventies and eighties of the fifteenth century; from the school which they founded in Bologna most of the later Ferrarese and Bolognese painters proceeded. I^orenzo Costa has been called the Perugino of the Ferrarese school. Not only does he occupy a place in northern Italian art somewhat analogous to that of the great master of Perugia among the painters of Central Italy, but with him a softer spirit, a feeling and sentiment nearly akin to that of the Umbrians, finds its way into the more robust creations of the FYTrarese. Th
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