. The painters of the school of Ferrara. is inscribed in the name of GiovanniBentivoglio:— * Me patriam et dulces cara cum coniuge natesComendo precibus^ Virgo Beata, tuis ; with the painter*s addition: MCCCCLXXXVIIlAugusti Laurentius Costa Faciehat. Costa afterwards painted the Triumphs of Deathand of Fame, remotely suggested by the TriumphusMwtis and Triumphus Famae of Petrarca, on theopposite wall. Here and there, isolated motives andindividual figures are finely rendered, but the wholeeffect is somewhat confused. They were completed in1490. These early works, together with tlie Madonna and
. The painters of the school of Ferrara. is inscribed in the name of GiovanniBentivoglio:— * Me patriam et dulces cara cum coniuge natesComendo precibus^ Virgo Beata, tuis ; with the painter*s addition: MCCCCLXXXVIIlAugusti Laurentius Costa Faciehat. Costa afterwards painted the Triumphs of Deathand of Fame, remotely suggested by the TriumphusMwtis and Triumphus Famae of Petrarca, on theopposite wall. Here and there, isolated motives andindividual figures are finely rendered, but the wholeeffect is somewhat confused. They were completed in1490. These early works, together with tlie Madonna and Child with St. Sebastian and St. James, now in the gallery at Bologna, signed and dated 1491 (a very inferior picture), are stiff and tentative, strongly reminiscent of Ercole Roberti, and even, to some extent, 1 Camilla egregia vergene, la quale a li eervitii del celesteprincipe nel raonastero de Bancta Clara se h renchisa, che a te fiiacumulo de divino thesauro {Oynevera de h dare donne, p. 5). • « • • • • a • • •. Jlitlrrsnil LoKEN/.o Costa THE GIlKhlNI ALTAUriECE San Oiovaniii in Mniite, Imloi^na To/dtr }Ktgt 74 LORENZO COSTA 75 of Tura and Cossa, tlioiigh without their force andvigour. In the following year, he suddenly seems tohave come into his own, with the noble altarpiece ofthe Cappella Bacciocchi in San Petronio, signed anddated 1492. ITie splendid colouring, the virile andfinely characterised figures of the four Saints surroundingthe Madonnas throne, the beauty of the three Angelsmaking melody in the tympanum above, make this amasterpiece of fifteenth-century religious art. TheMadonna and Child with St. Petronius and , of 1496, in the Bologna gallery, in which theinfluence of Cossa is observable, is inferior; but in thefollowing year, 1497, Costa surpassed himself with thealtarpiece executed for the Cappella Ghedini (as itthen was) of S. Giovanni in Monte. This, indeed, isthe finest of all his works. It has that indefinablereligious sent
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Keywords: ., bookcentury1900, bookdecade1910, bookidpaintersofschool00gardric
