. The painters of the school of Ferrara. ol-lection. Much later, painted in 1542 or 1543, isthe large Triumph of Bacchus at Dresden, of whichthe composition is precisely the same as that of thelittle picture attributed to Dosso Dossi in the Castelloat Ferrara. Vasari states that this and a Calumnyof Apelles (which cannot now be traced) were paintedby Garofalo at the age of sixty-five from drawings byRaphael, and hung over chimney-pieces in the ducalpalace; Ercole II. showed them to Pope Paul III.,upon which that pontiff was amazed that a man ofthose advanced years, with only one eye, should ha
. The painters of the school of Ferrara. ol-lection. Much later, painted in 1542 or 1543, isthe large Triumph of Bacchus at Dresden, of whichthe composition is precisely the same as that of thelittle picture attributed to Dosso Dossi in the Castelloat Ferrara. Vasari states that this and a Calumnyof Apelles (which cannot now be traced) were paintedby Garofalo at the age of sixty-five from drawings byRaphael, and hung over chimney-pieces in the ducalpalace; Ercole II. showed them to Pope Paul III.,upon which that pontiff was amazed that a man ofthose advanced years, with only one eye, should haveexecuted such large and beautiful works.^ Theseclassical themes, however, were clearly less congenial 1 Iliad, Bk. V. 2 It was, possibly, executed from a design of Garofalo by Girolamoda Carpi. 3 Vasari, 467. A small design for the Triumph of Bacchusin India had been sent by Raphael to Duke Alionso in 1617. of Beltrando Coatabili (September 11, 1517), in Campori,Notitie inedite di JRnfaello, p. 115. » » » J J ) >. oo < Oo H D o 00 a. q a PS GAROFALO i8i to the painter ; Mr. Benson well notes that Garofalowas one who, in appropriating a classic myth, failedto transmute it, and left it cold and conventional. ^Far more attractive are his smaller religious pictures,of which so many are scattered through the publicgalleries and private collections of Europe. TheVision of St. Augustine in the National Gallery, asingularly poetical conception, reminiscent alike incolouring and in types of Dosso Dossi, and the romanticHoly Family with St. Elisabeth and the little , at Padua, with its Raphaelesque infant Saviourand peculiarly lovely landscape, have a freshness and acharm that we seldom find in his more ambitiousworks. Vasari tells us that, for twenty years, Garofalopainted on every feast-day, for the love of God,^ inthe monastery of the nuns of San Bernardino (a housedestroyed in 1823), with the same care and diligencethat he used in his other works. Al
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