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Villa Pisani Dossi ( Como )

El castell de Sant'Angelo (en italià Castel Sant'Angelo), conegut també com el mausoleu d'Adrià, és un monument romà situat al marge dret del riu Tíber, davant l'antic Pons Aelius (l'actual pont de Sant'Angelo), a no gaire distància de la Ciutat del Vaticà.

 

Iniciat per l'emperador Adrià l'any 135 amb la finalitat de fer-ne el seu mausoleu personal i familiar, fou acabat per Antoní Pius el 139. El monument, bastit amb pedra de travertí, estava coronat per una quadriga de bronze guiada per l'emperador Adrià. Ben aviat l'edifici canviaria d'ús i es convertiria en una fortificació militar. Es va integrar a la muralla d'Aurelià l'any 403.

 

El nom actual del castell prové de l'any 590, durant una gran epidèmia de pesta que va assolar la ciutat de Roma. El papa de l'època, Gregori I, va veure l'arcàngel Sant Miquel al capdamunt del castell embeinant l'espasa, cosa que significava l'acabament de l'epidèmia. Per commemorar aquesta aparició, es va coronar l'edifici amb l'estàtua d'un àngel: primer va ser una escultura de marbre de Raffaello da Montelupo i, des del 1753, n'és una de bronze de Pierre van Verschaffelt sobre un dibuix de Bernini.

 

Des del 1277, el castell està connectat amb la Ciutat del Vaticà mitjançant un corredor fortificat, anomenat el Passetto, d'uns 800 metres de llargària.

 

La fortalesa fou el refugi del papa Climent VII durant el setge i saqueig de Roma de l'any 1527, dut a terme per les tropes de l'emperador Carles I.

 

Fins al segle XIX, el castell servirà de presó política del papat. El 21 de juliol del 1871 s'arria la bandera pontifícia i l'exèrcit italià pren possessió de l'edifici.

 

Restaurat al començament del segle XX, el castell de Sant'Angelo va restar aïllat de les construccions dels voltants fins fins al 1934. Des del 1925 és un museu nacional que allotja una col·lecció de pintura (amb frescos de Perino del Vaga, Antonio da Sangallo el Jove, Dosso Dossi i Lorenzo Lotto, entre d'altres) i armadures.

 

Цифровая репродукция находится в интернет-музее Gallerix.ru

The Estense Castle or Castle of Saint Michele (Italian: Castello Estense) is a moated medieval structure in the center of Ferrara, northern Italy. It is a large block with four corner towers.

 

History

On May 3, 1385 the Ferrarese people, driven to desperation by taxes and flooding that had brought ruin upon them, took themselves to the Marquis Niccolò II d'Este’s palace to ask the advice of Tommaso da Tortona, the high official held to be responsible for this grave situation. Niccolò tried to calm the revolt all day, but by the evening it was clear that the people's spirits were getting more and more angry and that the very safety of the Estensi was endangered. The order was therefore given to summon the disgraced Tommaso, who was given confession and communion and then given to the crowd, who literally tore him to pieces.

This episode, which resulted later in the death of the leaders of the revolt, convinced the Marquis that the family’s Palace (which is now the Palazzo Comunale) was insufficient to guarantee the security of the nobility in the event of riots. He therefore ordered the construction of a defensive fortress on the north side of the Palazzo, entrusting the project to the architect Bartolino da Novara. He used a pre-existing tower (the Torre dei Leoni), which was part of the defensive walls, at that period very much to the south of the present ones, running, roughly speaking, along the line of the present Corso Giovecca and Viale Cavour. The tower was joined by curtain walls to another three newly built for this project. Between the Este residence and the new fortress was built an aerial passageway (perhaps in wood) to allow people to flee from one to the other.

As the city grew the city walls were moved, so the defensive function of the castle became less important and apartments began to be built in its interior, which was by now considered an annex to the court palace. From the time of Ercole I d'Este on, there are many records of construction of apartments, and of their enlargement and enhancement. The definitive transformation works were ordered by Ercole II after a fire in 1544, which had damaged the previous accommodation. The architect Girolamo da Carpi gave the castle the external appearance which can be still seen today, although the interior has been remodelled several times across the ages. After the departure of the Este to Modena, the castle became the residence of the Papal Legate who administered the Ferrarese territory as civil governor (for a maximum term of four years). There were few changes made to the structure of the building, the most obvious being the increase in height of the north ravelin (the room which currently houses the cafeteria).

In 1860 Ferrara was annexed to the Kingdom of Italy. The castle, now state-owned, was bought for 70,000 liras in 1874 by the Province of Ferrara that utilized the structure as headquarters of the Prefecture.

Over the years the Castle undergone many small restoration projects, especially between 1910 and 1930, when some very questionable attempts were done. During the Second World War the Castle was heavy damaged by bombing, so it was partially reconstructed in 1946.

 

(from Wikipedia)

 

Il Castello Estense

 

Il Castello Estense, o Castello di San Michele, è il monumento più rappresentativo della città di Ferrara. E’ una costruzione con quattro torri agli angoli e circondata da un fossato d’acqua.

 

Storia

Il Castello Estense sorse nel 1385 come strumento di controllo politico e militare. La prima pietra fu posata simbolicamente il 29 settembre, giorno di San Michele, protettore di porte e rocche urbiche.

L’opera fu commissionata all’architetto Bartolino da Novara, già artefice del castello di Pavia e poi di quello di Mantova, dal marchese Niccolò II d'Este che ritenne indispensabile dotarsi di una potente macchina repressiva dopo un’imponente rivolta popolare scatenatasi nel maggio di quello stesso anno. Alla notizia di un ennesimo aumento delle tasse, i ferraresi insorsero e chiesero a gran voce la consegna di Tommaso da Tortona, consigliere del Marchese e responsabile della riscossione delle gabelle. Tommaso, dopo aver debitamente ricevuto i Sacramenti, fu consegnato dal marchese alla folla inferocita, che lo fece letteralmente a pezzi.

 

« il disgraziato Tommaso, non senza aver prima messo in pace con Dio l’anima sua, venne consegnato alla folla inferocita, che, afferratolo e malmenatolo, lo ridusse in tanti pezzi, bruciandone poi alcuni sul rogo dei libri pubblici gettati alle fiamme, issandone altri su canne in segno di trionfo e dando gli intestini da mangiare a uomini, cani ed uccelli. »

( Luciano Chiappini, Gli Estensi)

 

Il Castello sorse intorno alla Torre dei Leoni, un'antica torre di avvistamento già esistente nel XIII secolo ed inserita lungo la cinta muraria che allora delimitava la città verso nord. Bartolino da Novara chiuse il quadrilatero facendo edificare altre tre torri: Marchesana a sud-est, di S. Paolo a sud-ovest e di S. Caterina a nord-ovest. La struttura ebbe quindi in origine la funzione di fortezza difensiva: di quel periodo sono le torri e i ponti levatoi ma nel tempo il suo carattere di reggia dinastica mise in ombra quello militare.

 

Il Quattrocento

  

Ercole I

Dopo il colpo di stato tentato nel 1476 da Niccolò, figlio di Leonello d'Este, Ercole I decise di stabilirsi nel Castello e quindi di apportare all’edificio diversi cambiamenti per adattarlo alla vita di corte. In quel periodo venne raddoppiato il corpo di fabbrica compreso tra la Torre Marchesana e quella dei Leoni e furono iniziati i lavori per ampliare e mettere a decoro la “Via Coperta”, fino ad allora un semplice camminamento che collegava il Castello al Palazzo Ducale, la precedente residenza signorile.

Alla figura di Ercole I si deve la cosiddetta “Addizione Erculea”, affidata all’opera dell’architetto e urbanista Biagio Rossetti nel 1492. L’Addizione prevedeva la costruzione di una grande cintura fortificata che avrebbe raddoppiato le dimensioni della città verso settentrione e reinventato Ferrara in chiave moderna, tanto da poterla annoverare a pieno diritto fra le principali capitali europee. Ulteriore effetto dell’operazione era di spostare il baricentro della struttura urbana e rompere le gerarchie urbane tradizionali.

 

Il Cinquecento

  

Alfonso I

All'inizio del Cinquecento, Alfonso I continuò i lavori di ristrutturazione e decorazione del Castello intrapresi dal suo predecessore Ercole.

A partire dal 1507 Alfonso fece completamente ristrutturare la Via Coperta per collocarci le proprie stanze private. In particolare bisogna ricordare i famosi “Camerini d'Alabastro” dove trovarono posto le sue preziose collezioni d'arte che comprendevano dipinti di Tiziano, Dosso Dossi e sculture di Antonio Lombardo. I cambiamenti apportati non incisero sostanzialmente sull'aspetto esteriore del Castello ma dopo un grave incendio scoppiato nel 1554 vennero avviate diverse campagne di ristrutturazione ad opera di Girolamo da Carpi e alla sua morte da Alberto Schiatti. L'intervento del Carpi non modificò la struttura del complesso ma si limitò ad emendarli in pochi e qualificanti elementi, sufficienti tuttavia a ridefinire l'aspetto ed il significato simbolico. Le balaustre di marmo sostituirono i merli a coda di rondine medievali ingentilendo così l'aspetto del Castello mentre l'aggiunta delle altane servì a slanciare la costruzione verso l'alto, sostituendo all'ottica dell'osservazione militare quella della contemplazione del paesaggio.

Al quinto ed ultimo Duca d'Este, Alfonso II, è invece riconducibile il vasto programma per la messa a decoro del Castello, che interessò l'intero edificio, a partire dal cortile interno fino ai saloni del piano nobile. Nel 1597 Alfonso II morì senza lasciare eredi diretti e Papa Clemente VIII ne approfittò per togliere il governo della città agli Estensi, i quali dovettero l'anno successivo lasciare definitivamente Ferrara per trasferirsi a Modena.

Con l'insediamento dei Cardinali Legati nel Castello, che ne fecero la sede amministrativa del territorio ferrarese, si assistette ad una progressiva decadenza della città: da capitale estense ad anonima periferia dello Stato Pontificio. Gli interventi posti in essere di questo periodo sono pochi e sostanzialmente limitati alla zona della Torre di Santa Caterina, quali l'ampliamento del rivellino nord e la decorazione delle sale adiacenti.

 

Epoca contemporanea

  

Il castello durante il restauro della via Coperta

Nel 1860 Ferrara venne annessa al Regno d'Italia. Il Castello, divenuto proprietà dello Stato, fu acquistato per 70.000 lire nel 1874 dall’Amministrazione Provinciale di Ferrara che ne utilizzerà gli spazi come sede dei propri uffici e della Prefettura. Negli anni l’efficienza strutturale del monumento è stata salvaguardata grazie ai continui lavori di manutenzione, ai quali si sono affiancate, in vari momenti, specifiche opere di restauro. Molti interventi furono fatti nel periodo tra il 1910 ed il 1930, alcuni molto discutibili come quelli tesi a creare una piena accessibilità del cortile del Castello alle autovetture. Durante la Seconda guerra mondiale fu demolito dai bombardamenti il rivellino nord e venne ricostruito fedelmente nel 1946 dal Genio Civile.

 

(da Wikipedia)

  

www.flickr.com/photos/sissiprincess/show/

Giovanni di Niccolò de Lutero dit Dosso Dossi 1497-1548. Ferrare. Saint Jérôme pénitent. Louvre

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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Ne la buca infintale ^f, tolf> intendeDi Liàu il mal ; ma via aia fi confluitoDal fumo jurtiejce ,e al-volatorjiiofcende, iJoj^jJ?.- E nel terreflre paradtfò è pianto ì ^WT^i>VtJ\ Nel ael poi con Gioitami ilfentier prende , //^Sp?̧0 y&Et infornato (To<rmcoft à punto [ [ *^ >>./ : 2%WJ Prende il fenno d Orlando. e del fuo parte F fi^-Ffcfe , e c/?/^/.! r ;«)/?>•» Tf III _, e parte. VV.

 

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IN CLVESTO CANTO TRENTESIMO CLVARTO SH A LESSEMPIO cfvnpptentilìiiitoci: sfrenato amore nella per(ònadAlceIie,cV per Iadure7zadi Lidia in non piegar(ì mai per alcun tuo merito ad amarlo, ti vede, non diremo noi lingratitudine, comeila della poi ladichi-ira, mapìùtoflola lèrmeZ70,cV la (ìabilità dellanimo dvna valorofà donna ,la quale vedendoche colui per la rifpolta del padre di lei,in non volergliela dai per moglie,!! volc;c furiolamcnte à v-(cir della fedeltà debita a lui,col fuoSi ;nore ,& à far cole, che tornino in tanto danno, & inquiera-niento della donna a mata, lì ufo lue valorofamentc a non indurli ad amai lo mai. Et (è lAutor quifìnge chella di ciò fiaicueiifsiinamente e litigata nellaltro mondo, cdadire,cheauenifle per laltrecircoflanie che in quella (uà vendetta ella aggiunfe, per condurlo à morte. Diche sha altroue di-fcoriò à pieno, per ellèr caio degno di molta confidci ationc più per aramae(lramento,che per difefade gli amanti. C^fNTO TREN

  

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Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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Full title: A Bacchanal

Artist: Attributed to Dosso Dossi

Date made: probably about 1515-20

Source: www.nationalgalleryimages.co.uk/

Contact: picture.library@nationalgallery.co.uk

 

Copyright © The National Gallery, London

Dosso Dossi (1486-1542) - The Archangel Michael.

Detail.

Staatliche Kunstsammlungen Dresden..

 

Wikipedia Encyclopedia:

Dosso Dossi (c. 1490 – 1542), real name Giovanni di Niccolò de Luteri, was an Italian Renaissance painter who belonged to the Ferrara School of Painting.

 

Dossi was born in San Giovanni del Dosso, a village in the province of Mantua. His early training and life is not well documented; his father, originally of Trento, was a bursar (spenditore or fattore) for the Dukes of Ferrara. He may have had training locally with Lorenzo Costa or in Mantua, where he is known to have been in 1512. By 1514, he would begin three decades of service for dukes Alfonso I and Ercole II d'Este, becoming principal court artist. Dosso worked frequently with his brother Battista Dossi, who had trained in the Roman workshop of Raphael. The works he produced for the dukes included the ephemeral decorations of furniture and theater sets. He is known to have worked alongside il Garofalo in the Costabili polyptych. One of his pupils was Giovanni Francesco Surchi (il Dielai).

 

Dosso Dossi is known less for his naturalism or attention to design, and more for cryptic allegorical conceits in paintings around mythological themes, a favored subject for the humanist Ferrarese court (see also Cosimo Tura and the decoration of the Palazzo Schifanoia). Freedburg uses the term sprezzatura to refer to Dossi's caricature-like, primitivist, and eccentric distortions of proportion. Dossi is also known for the atypical choices of bright pigment for his cabinet pieces. Some of his works, such as the Deposition have lambent qualities that suggest some of Correggio's works. Most of his works feature Christian and Ancient Greek themes and use oil painting as a medium.

 

Here you find a link to the Museum:

www.skd.museum/

 

See also my list of best and worst museums in the world:

www.flickr.com/photos/menesje/4059308291/

And here you find my list of best and worst museums in Holland:

www.flickr.com/photos/menesje/4059604700/

 

Musée du Louvre, Paris

 

I watched this lady for at least 5 mins. She applied makeup, eyeliner & remove her eyebrows completely unaware of anything around her. I should go more often to the Louvre... :)

Il Castello è stato edificato con funzioni difensive sopra un rilievo roccioso, originariamente sede di un castrum romano.

Il dosso in cui venne edificata la fortezza a partire dal XIII secolo era denominato Malconsey. Già a partire dal 1300 il toponimo anticamente utilizzato per indicare il piccolo colle non venne più utilizzato e si preferì modificare il nome originario, adottando un termine più positivo: il castello Malconsey divenne Buonconsilii (del Buonconsiglio).

La sua attuale struttura è il risultato di una plurisecolare aggregazione edilizia: sono infatti ben distinguibili diverse sezioni e strutture, risalenti a secoli diversi. Il castello del Buonconsiglio rappresenta uno dei più grandi complessi fortificati delle Alpi.

La parte più antica è quella di gusto romanico, rappresentata dal nucleo duecentesco del Castelvecchio (che venne poi ricostruito nel 1440) e dell'ampio torrione circolare (chiamato Torre d'Augusto). In una fase successiva, tra la fine del Trecento e l'inizio del Quattrocento, la struttura venne profondamente modificata dai principi vescovi Giorgio di Liechtenstein e Giovanni IV Hinderbach. Il primo collegò al Castelvecchio la Torre Aquila, che fece affrescare con il Ciclo dei Mesi, uno straordinario esempio di Gotico Internazionale. Giovanni IV Hiderbach fece costruire la grande merlatura e il loggiato di gusto gotico-veneziano.

Nel 1500 il cardinale Bernardo Clesio, impegnato in un progetto di ristrutturazione e riqualificazione urbanistica dell'intera città, fece edificare a sud del complesso una costruzione rinascimentale, il Magno Palazzo, nuova dimora di principi vescovi, affrescata da Dosso Dossi e da Girolamo Romanino.

In età barocca, il vescovo Francesco Alberto Poia costruì la Giunta Albertiana, struttura che permette la comunicazione diretta fra la sezione medievale e il Magno Palazzo.

Nel 1796 la città venne invasa dalle truppe napoleoniche e l'ultimo principe vescovo, Pietro Vigilio Thun, lasciò il castello e si rifugiò nella fortezza di famiglia in Val di Non. Con la secolarizzazione del Principato Vescovile di Trento e la sua annessione alla Contea del Tirolo, il Buonconsiglio si ridusse da sede di rappresentanza a caserma militare austriaca.

Durante la prima guerra mondiale, la Sala del Tribunale (la cinquecentesca Stua della Famea) fu sede del processo (1916) agli irredentisti Cesare Battisti, Fabio Filzi e Damiano Chiesa. Dopo la sentenza, che sanciva la condanna a morte per alto tradimento, i tre irredentisti vennero condotti nelle celle ricavate nel loggiato. La sentenza venne eseguita nel prato tra il castello e le mura poste ad est (la Fossa dei Martiri): il 19 maggio 1916 venne fucilato il sottotenente roveretano Damiano Chiesa, volontario nell’esercito italiano; il tenente Battisti e il sottotenente Filzi vennero impiccati il 12 luglio successivo.

Nel 1918 lo Stato italiano divenne proprietario del Castello, che passò alla Provincia autonoma di Trento nel 1974. Il castello è maniero d'Onore dell'Ordine di Vittorio Veneto figurando in alto a sinistra nel diploma di Cavaliere.

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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Gr.vi cofe fa perfìrada ilpazgg Orlando.^f Mandrie ardo dà Rupvier la morte ;Sta/Si /.t belli moglie in affettando,Chei Tenga 3 e pena [ente acerba e forte ,Ma à lui, chè fh ito, a la gir quandoPromcffo hauetta, aliar yietb la forte.Va co fratelli intanto ardito e baldoPer darfoccorfo aljuo Signor, Rinaldo.

  

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An array of enticing visual clues has given rise to many theories about Dosso Dossi's Mythological Scene, but no one has determined the painting's precise meaning. The cupids in the sky, the lush setting, and the sensuous nude lying on a bed of flowers indicate that the subject is love. The male figure on the right is the Greek god Pan, a satyr. In Renaissance allegories he personifies lust, since he seduced the nymphs with the music of the pipes held in his left hand. The sleeping nude in the foreground may be the nymph Echo, who spurned Pan for Narcissus. The old woman at the center of the group could be Echo's protector Terra, who sits above her and shields her from harm. Next to the old woman and dressed in a green gown, billowing red cape, and armor is a mysterious and yet to be identified woman. Her costume indicates that she is likely a goddess. Dossi painted this figure and then changed his mind and covered her up with a landscape. She was uncovered again during a restoration in the 1800s.

 

Additional clues also tell scholars that the painting was cut down by about six inches on the left side at some point. The arm of another cupid can be seen at the painting's upper left edge, and a x-radiograph reveals the partially cut-off figure of a man under the lower part of the landscape. X-ray photographs also display various pentimenti, or alterations made by the artist. Initially, Dossi included a suit of armour and a sword hanging from the lemon tree, a cello held by the woman in the red cape, and a downward gaze for the old woman.

 

[Oil on canvas, 64.5 x 57.25 inches]

 

gandalfsgallery.blogspot.co.uk/2012/07/dosso-dossi-mythol...

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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Ne la buca infintale ^f, tolf> intendeDi Liàu il mal ; ma via aia fi confluitoDal fumo jurtiejce ,e al-volatorjiiofcende, iJoj^jJ?.- E nel terreflre paradtfò è pianto ì ^WT^i>VtJ\ Nel ael poi con Gioitami ilfentier prende , //^Sp?̧0 y&Et infornato (To<rmcoft à punto [ [ *^ >>./ : 2%WJ Prende il fenno d Orlando. e del fuo parte F fi^-Ffcfe , e c/?/^/.! r ;«)/?>•» Tf III _, e parte. VV.

  

Note About Images

Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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nnotationifopra il Decamerone del Boccaccio, cr cosi nel principiodel Petrarca, ne Commentari] della linguaìtaliana, eynel uolume delle lette*re de Tredici Autori ìUufbri, con altre lettere, ey due altri libri da me nuouamente aggiuntati, io ho renduta piena ragione dellortografìa, ey ho moftrato (quel*lo,che però non è in dubbio alcuno tra quei che fanno ) che à i tempi del B<jrc<jc=ciò, di Dante, ey del Petrarca, nonflfeppe quafi mun uero, ey regolato mododi ortografia, ey feriticelo quafi con tutta lortografìa L atina, ufando lax.lay.iì.ph. th. eyfenzaaccenti alcuni, ey quello che è molto peggio ,fcnza apoflrofo, ò colli/ione ,fcriuendo cosi luna, quando diceano luna cy Ultra, come quando diccano la luna del cielo, ey così dognaltra. il che fi uede,che ancora molti flampatori, non dico da+o.ò fo. anni a dietro, ma da 4. ey e. fi fon pregiati di fare, credo per parere òàloro,òà chi ordmaua loro le cofe, di ritornare in quefìa età noflra una moU • * * « to

 

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tofaporìtd forte di uumdd nuottd, ey con quello rimanere Ammirabili, er moflrdr che più uaglia ilgenerofo capriccio loro, che le ragioni, le regole, er U mamfeflifiima necefiità non che utilità perlintendimento delle fcritture. Ora quantunquc,come pur ora ho detto, io di ciò habbia trattato ilungo in tanti altri luoghi,tuttauia.pcrche molti,chc per auentura non [hanno letto in quelli, non habbiano che defiderare in quejlo, cy rejlmo capaci di quanto io ho fatto intorno à ciò in quejlo libro àbeneficio degli Hudiofi, ne dirò ancor qui breuifiimamente alcune cofe infojlanza, più importantLEttanto più, che non mancheranno alcuni muidioft, ò maligni, eyfopr atutto ignoranti, chefenza dartempo à i ghiribizzi che nafeon loro nel cer nello, di maturar fi, gli ftingon fuori a! primo tratto buo*tuo cattiui che fieno, fi faran fubito àcauallo,con dir chio ho uolutorinouarla fcrittura tenutifin qui in tutti il uriofi che fi fon uijli, cy già odo fin di qua la caterua de Pedanti, c

  

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Edited By Angelica~ " HOLY DAUGHTER "

 

Lucrezia Borgia (Italian pronunciation: [luˈkrɛtsja ˈbɔrdʒa]; Catalan: Lucrècia; Catalan pronunciation: [luˈkrɛsiə]; 18 April 1480 – 24 June 1519) was the daughter of Pope Alexander VI and Vannozza dei Cattanei. Her brothers included Cesare Borgia, Giovanni Borgia, and Gioffre Borgia.

 

Lucrezia's family later came to epitomize the ruthless Machiavellian politics and sexual corruption alleged to be characteristic of the Renaissance Papacy. Lucrezia was cast as a femme fatale, a role she has been portrayed as in many artworks, novels, and films.

 

Very little is known of Lucrezia, and the extent of her complicity in the political machinations of her father and brothers is unclear. They certainly arranged several marriages for her to important or powerful men in order to advance their own political ambitions. Lucrezia was married to Giovanni Sforza (Lord of Pesaro), Alfonso of Aragon (Duke of Bisceglie), and Alfonso I d'Este (Duke of Ferrara). Tradition has it that Alfonso of Aragon was an illegitimate son of the King of Naples and that her brother Cesare may have had him murdered after his political value waned.

     

Possible portrait of Lucrezia Borgia assumed to be by Dosso Dossi circa 1518

Several rumours have persisted throughout the years, primarily speculating as to the nature of the extravagant parties thrown by the Borgia family. Many of these concern allegations of incest, poisoning, and murder on her part; however, no historical basis for these rumours has ever been brought forward beyond allegations made by rival parties.

It is rumoured that Lucrezia was in possession of a hollow ring that she used frequently to poison drinks.

An early 20th-century painting by Frank Cadogan Cowper that hangs in the London art gallery, Tate Britain, portrays Lucrezia taking the place of her father, Pope Alexander VI, at an official Vatican meeting. This apparently documents an actual event, although the precise moment depicted (a Franciscan friar kissing Lucrezia's feet) was invented by the artist

  

The Borgia Family lyrics

   

Lucrezia, Giovanni,

Gioffre and Cesare

Italian barmy army,

The Borgia Family

 

Our daddy was Rodrigo

I had a monstrous ego

Where he makes trouble we go

The Borgia Family

 

Our tale begins Renaissance Spain,

It's leaders were a shower

So I run out of patience

So began in my quest for power

 

I splashed my cash to all the papal cardinals in hope

That they'd be bought,

They were in short

And I became the Pope

 

More power than I oughta

Blood's thicker than water

Appoint my sons and daughter

To run a dynasty

 

With daddy as the Pope I could do as I pleased was ace,

I'd kill a man who dared

Like invade my personal space

I found a husband for Lucrezia

Rich Giovanni Sforza, do you love him?

Yes of course but love is power and money more so

 

Now married to the Sforza's

This opens up new doorsas

They world bows down before us

The Borgia/Sforza family

 

Yes, and while we're at it we will marry son Gioffre

Aged twelve but so what soon will be

The Borgia/Sforza and the Naples family

 

When the Sforza family

Eventually bores ya

With just annul the marriage

If he refuses to divorce ya

 

Don't I get a say?

Don't fret, for you another man I'll get

Alfonzo of Aragon

I like him this could go on and on!

 

You like him I've gone off him

His pretty face makes me wince

You killed him!

Yeah I'm the model for

Machiavelli's Prince

 

Giovanni run the army but Cesare said

No way! I'll kill you if you cross me

I might kill you anyway

I am the mostest powerfulest, evilest of all

As long as dad's alive

There's not a single chance I'll fall

 

Huh aaaaah!

Awww nooo

 

We suddenly lost status

It seemes the whole world hate us

They excommunicate us

The Borgia Family

 

R.I.P.

  

London, National Gallery

high resolution photo

 

Bacchus, god of wine, emerges with his followers from the landscape to the right. Falling in love with Ariadne on sight, he leaps from his chariot, drawn by two cheetahs, towards her. Ariadne had been abandoned on the Greek island of Naxos by Theseus, whose ship is shown in the distance. The picture shows her initial fear of Bacchus, but he raised her to heaven and turned her into a constellation, represented by the stars above her head.

 

The programme for the series was probably devised by a humanist scholar in the service of Alfonso d'Este. The subject of Bacchus and Ariadne is derived from the classical authors Ovid and Catullus.

 

The painting is one of a famous series by Bellini, Titian and the Ferrarese artist Dosso Dossi, commissioned for the Camerino d'Alabastro, (Alabaster Room) in the Ducal Palace, Ferrara, by Alfonso d'Este, Duke of Ferrara, who in around 1510 tried to include Michelangelo and Raphael among the contributors. Titian's painting was in fact a substitute for one with a similar subject which the Duke had commissioned from Raphael. Bellini's 'Feast of the Gods' for this room is dated 1514, and the three works by Titian were painted 1518-25.

  

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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chOrlando fol lha morteOnde dimudia e merauiglia paioVa Madncardo apprefjo algucmer firte,Si o ode poi di Dar alice in feno,Cliel cielo, el ralorfuo li danno m forteGiuno-e a Pariti da l^fiivclguidatoRinaldo; e già l affatto i Mori han dato. QVESTO QJV ARTODECIMO, CI PONE AVANTI à jji occhi nella perlòna del Re Carlo una uiuacV perfetta imagine dun prudentifsimo &• ualot olihimo Principe nella dife- (ì duna città. Et come Iddio benigniisimo non lafcia mai priuato del luo aiu lochili rìda in lui. C^CNTO QV^f RTODEC1MO.

 

Text Appearing After Image:

E I MOLTI affati, e ne icrudcl còflitti, Chauuti haueacon Francia, Afi ica, e Spagna, Morti erano in*fittiti j e dere*littt , Al lupo, al coruo, à laquila grifagna,E benché i Franchi fvffero più afflitti,Che tutta hauean perduta la campagnaP;« fi doteano i Saracin per moltiTrincìpi, f gran Baron, cheran lor tolti. Hebbon uìttorie cosi fanguinofe,Che lor poco auanzò, di che aUegrarfi,E fé a le antique le moderne cofe,Inmtto Alfinjo,demio afiimigliarft, La gran uittoria, onde à le uirtuofcOpere uofìre, può la gloria dar fi,Di chaucr fempre lagrimofe cigliaRauennadeue, a quefla safiuniglu ; Quando cedendoMorint, e Ttccardt,Lefferato formando, e lAquilano,Voi nel mezo affalijìegli flcndardiDel quafì uincitor nemico \fpano ;Seguendo uoi queigiouam gagliardi,Che meritar con ualorofa manoQuel di da uoi per honorati doniLcìfe indorate, e glindorati ffrom. Con si animofì petti, che iti fòroVicini, 6 poco lungi al gran periglio,Crollajìc sì ie ricche Ghiande doro,Sì rompcjk

  

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Dosso Dossi (active 1512; died 1542) - Adoration of the Magi, probably 1530-42 : detail

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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ARGOMENTO. Ha Fami battaglia in ogni parteDa lejjercito Moro, e da liffano,Da Logijlillt ^fjìolfofi diparte ;E premici ria Calgorante wfvw.ad Orni dal bujlo il capo parte _,cui Grifone & ^AljmUnte in i<anobattutohan .PoiSanfonetto troua.a Donna ha Grijvn non grata nona . m

 

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Wdz&zà*^ IN QUESTO QV INTODECIMO, PER CALIGORANTE, CHE Fi-nalmente prende fc Hello nella (u.i ice, lì vede come quali tempre le fcelerae7fce ,& glingannialtrui ritornano in vltimoàdanno,& routna di chi ladopra. PER Oiulo,che tagliato in pezzili rilaldaua di le dello &. teneua viuo, (i dimo(lra,che la malignità per qualche tempo lì foftiene,ma clic pural rJne,chi fa conofecre le cagioni che la mantiene, & tagliai la vìa, come fece Allottoij ci i n fatale, onJhauca uita Ornlo, viene ad vccidctlu, cV à farla cadere a riatto. C^fNTO QJS I N T O DEC I MO.

  

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Girolamo Romanino (1484/7-1562) - Salome with the Head of John the Baptist.

Detail.

Around 1516-1517.

Gemäldegalerie Staatliche Museen, Berlin.

 

Wikipedia:

Girolamo Romani (Romanino) (c. 1485 – c. 1566) was an Italian High Renaissance painter active in the Veneto and Lombardy, near Brescia. His long career brought forth different styles.

 

Romani was born in Brescia. His early training and life are not well documented.

 

He took up residence in Venice in his twenties, at the latest by 1513. He was commissioned to complete a Madonna enthroned with four saints for the church of Santa Giustina in Padua in 1513. The coloration of the painting is of Venetian style, but the duller visages in bejeweled setting recalls styles of previous generations.

 

Romanino completed four frescoes in the nave of the cathedral of Cremona in 1519-1520 depicting stories of the Passion of Christ. His paintings have eclectic influences using Venetian coloration with Florentine-Lombard modeling. In the Cremona frescoes, the Lombard influence of Altobello Melone is strong, in the narrative and decorative elements of the fresco. By 1521, Romanino was replaced by Il Pordenone in the decoration of the church.

 

He then returned to Brescia to work (1521–1524) with Alessandro Bonvicino in the decoration of the "Cappella del Sacramento" in San Giovanni Evangelista. His St. Matthew and the Angel depicts the apostle at work under candlelight, and represents one of the first such nocturnes in Italian painting, a device which Correggio and Cambiaso would soon pursue. He also helped decorate the Palazzo Averoldi. A series of frescoes in the Castle of Malpaga, near Bergamo (1520-1530s), celebrating the life of Bartolomeo Colleoni, is attributed to him.

 

In 1531 to 1532, he worked with Dosso Dossi in fresco decoration of Castello del Buoncosiglio in Trento. He completed organ shutters for the church of Asola on Augustus and the sibyl, and Sacrifice of Isaac. He died between 1559-1561. His main pupils were his son-in-law Lattanzio Gambara, Girolamo Muziano, and Stefano Rosa. He is also known to have influenced artists such as Giulio Campi

 

Here you find a link to the website of the museum:

www.smb.museum/smb/standorte/index.php?lang=de&p=2&am....

See also my list of best and worst museums in the world:

www.flickr.com/photos/menesje/4059308291/

And here you find my list of best and worst museums in Holland:

www.flickr.com/photos/menesje/4059604700/

 

The subject may be taken from Ovid's Fasti and represent an episode during the Feast of Cybele. However, this is not certain and other bacchanalian subjects are possible.The painting is in very poor condition and the quality is hard to assess. It has sometimes been mistaken for the picture which Dosso Dossi is known to have made for the Camerino d'Alabastro in the Castello at Ferrara.

 

Giovanni di Luteri, known as Dosso Dossi (from his birthplace) was, with his brother Battista, the leading painter in Ferrara in the early 16th century. From 1514 he worked chiefly for the Ferrara court, ruled by Duke Alfonso and then by Duke Ercole d'Este, painting mythological and modern poetic subjects, as well as portraits, decorative frescoes and religious themes.

 

[Oil on canvas, 140.9 x 168.2 cm]

 

gandalfsgallery.blogspot.com/2011/09/dosso-dossi-bacchana...

Identifier: americaneducator05fost

Title: The American educator; completely remodelled and rewritten from original text of the New practical reference library, with new plans and additional material

Year: 1919 (1910s)

Authors: Foster, Ellsworth D., ed Hughes, James L. (James Laughlin), 1846-1935

Subjects: Encyclopedias and dictionaries

Publisher: Chicago, Ralph Durham Co.

Contributing Library: Internet Archive

Digitizing Sponsor: Internet Archive

  

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bly only the CongressionalLibrary at Washington excels it. The cityhas sixteen parks, aggregating 500 acres.The Federal government has appropriated$550,000 for a new postoflfice building. There is considerable manufacturing; theproducts of greatest note are carriages, farmimplements, dynamos, gas engines, machinetools and art glass. Population, 1910, 25,-531; in 1917, 31,315 (Federal estimate). ADONNA, a tenn nowcommonly used in all lan-guages to refer to theVirgin in works of art.It was not until after a. d.431, when the Councilof Ephesus declared theVirgin Mary to be theMother of God, that shewas frequently represent-ed in art, but after thattime the number of paint-ings increased rapidly. Inearly art she was painted with a robe ofblue, starred or marked with gold and usu-ally draped over her head. Bjzantine modelswere followed up to the thirteenth century,when the revival of painting in Italy broughtmore natural and beautiful forms. FraFilippo Lippi was the first to portray the in-

 

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MADONNA 2215 MADRAS carnation of maternal love and childish inno-cence. Botticellis two best productions rep-resent the Virgin crowned and adored bydreamy angels. Only two of Leonardo daVincis Madonnas remain, both of which arecharming representations. The Umbrianpainters left striking and beautiful picturesof the Madonna, one of the best of which isthe Madonna Enthroned, by Dosso Dossi,now in the Cathedral at Ferrara. Of Vene-tian i^ainters, Giovanni Bellini and Titianstand out most prominently, and TitiansPesaro Madanna in the Church of Frari,Venice, is the most celebrated. Of all theItalian painters of Madonnas, Raphael wasthe greatest. In his early period his themewas Mary the mother, while later he repre-sented her as queen of heaven. Of his fiftyor more excellent Madonnas, the most cele-brated are the Madonna of the Chair and theSistine Mado-nna (see below). The artists of Xortheni Europe did notproduce manj^ famous Madonnas, and ofthese, few remain. The first in rank of theGerm

  

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i have this one taken on a day when i was lucky that i had clouds in the sky, most of the time we had only blue sky.

for photos i the details of clouds in the sky that make the different in a photo.

 

The history:

 

Ferrara listen is a city and comune in Emilia-Romagna, northern Italy, capital city of the Province of Ferrara. It is situated 50 km north-northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km north. The town has broad streets and numerous palaces dating from the 14th century and 15th century, when it hosted the court of the House of Este. For its beauty and cultural importance it has been qualified by UNESCO as World Heritage Site. Modern times have brought a renewal of industrial activity. Ferrara is on the main rail line from Bologna to Padua and Venice, and has branches to Ravenna, Poggio Rusco (for Suzzara) and Codigoro. In 2006, due to its important historical significance, Ferrara became the headquarters of the Italian Hermitage Museum. It is the fifth city in the world to have been linked with the Russian museum. From this union was born the Hermitage-Italy

 

The origin of Ferrara is uncertain, it was probably settled by the inhabitants of the lagoons at the mouth of Po river; there are two early centers of settlement, one round the cathedral,[2] the other, the castrum bizantino, being the San Pietro district, on the opposite shore, where the Primaro empties into the Volano channel. Ferrara appears first in a document of the Lombard king Desiderius of 753 AD,[3] as a city forming part of the Exarchate of Ravenna. Desiderius pledged a Lombard ducatus ferrariae ("Duchy of Ferrara") in 757 to Pope Stephen II. After 984 it was a fief of Tedaldo, count of Modena and Canossa, nephew of the emperor Otto I. It afterwards made itself independent, and in 1101 was taken by siege by the countess Matilda. At this time it was mainly dominated by several great families, among them the prominent Adelardi

In 1146, Guglielmo II of Adelardi, the last of the House of Adelardi, died, and his property passed, as the dowry of his niece the Marchesella, to Obizzo I of Este. There was considerable hostility between the newly entered family and the prominent Salinguerra family, but after considerable struggles Azzo VII of Este was nominated perpetual podestà in 1242; in 1259 he took Ezzelino of Verona prisoner in battle. His grandson, Obizzo II (1264–1293), succeeded him, and he was made perpetual lord of the city by the population. The House of Este was from henceforth settled in Ferrara. In 1289 he was also chosen as lord of Modena, one year later he was made lord of Reggio. Niccolò III (1393–1441) received several popes with great magnificence, especially Eugene IV, who held a council here in 1438. His son Borso received the title of duke for the imperial fiefs of Modena and Reggio from Emperor Frederick III in 1452 (in which year Girolamo Savonarola was born here), and in 1471 was made duke of Ferrara by Pope Paul II. Ercole I (1471–1505) carried on a war with Venice and increased the magnificence of the city.

 

Renaissance :

 

During the reign of Ercole d'Este I, one of the most significant patrons of the arts in late 15th and early 16th century Italy after the Medici, Ferrara grew into a cultural center, renowned for music as well as for visual arts. The painters established links with Flemish artists and their techniques, exchanging influences in the colors and composition choices. Composers came to Ferrara from many parts of Europe, especially France and Flanders; Josquin Des Prez worked for Duke Ercole for a time (producing the Missa Hercules dux Ferrariæ, which he wrote for him); Jacob Obrecht came to Ferrara twice (and died during an outbreak of plague there in 1505); and Antoine Brumel served as principal musician from 1505. Alfonso I, son of Ercole, was also an important patron; his preference for instrumental music resulted in Ferrara becoming an important center of composition for the lute. The architecture of Ferrara benefitted from the genius of Biagio Rossetti, who was asked in 1484 by Ercole I to redesign the plan of the city. The resulting "Addizione Erculea" is one of the most important and beautiful examples of renaissance city planning and contributed to the selection of Ferrara as UNESCO World Heritage Site.

 

Alfonso married the notorious Lucrezia Borgia, and continued the war with Venice with success. In 1509 he was excommunicated by Pope Julius II, and he overcame the pontifical army in 1512 defending Ravenna. Lucrezia, together with other members of the Este house, is buried in the convent of Corpus Domini.

 

Gaston de Foix fell in the battle, in which he was supporting Alfonso. With the succeeding popes he was able to make peace. He was the patron of Ariosto from 1518 onwards. His son Ercole II married Renée of France, daughter of Louis XII of France; he too embellished Ferrara during his reign (1534–1559).

His son Alfonso II married Lucrezia, daughter of grand-duke Cosimo I of Tuscany, then Barbara, sister of the emperor Maximilian II and finally Margherita Gonzaga, daughter of the duke of Mantua. He raised the glory of Ferrara to its highest point, and was the patron of Tasso, Guarini, and Cremonini – favouring, as the princes of his house had always done, the arts and sciences. During the reign of Alfonso II, Ferrara once again developed an opulent court with an impressive musical establishment, rivaled in Italy only by the adjacent city of Venice, and the traditional musical centers such as Rome, Florence and Milan. Composers such as Luzzasco Luzzaschi, Lodovico Agostini, and later Carlo Gesualdo, represented the avant-garde tendency of the composers there, writing for gifted virtuoso performers, including the famous concerto di donne — the three virtuoso female singers Laura Peverara, Anna Guarini, and Livia d'Arco. Vincenzo Galilei praised the work of Luzzaschi, and Girolamo Frescobaldi studied with him.

 

The city was much affected by the 1570 Ferrara earthquake.

 

Alfonso had no legitimate male heir, and in 1597 Ferrara was claimed as a vacant fief by Pope Clement VIII, as was also Comacchio.

 

Modern history :

 

Ferrara remained a part of the Papal States from 1598 to 1859, when it became part of the Kingdom of Italy. A fortress was constructed by Pope Paul V on the site of the castle called "Castel Tedaldo", at the south-west angle of the town, that was occupied by an Austrian garrison from 1832 until 1859. All of the fortress was dismantled following the birth of the Kingdom of Italy and the bricks used for new constructions all over the town.

 

On August 23, 1944, the Ferrara synthetic rubber plant was a target of Strategic bombing during World War II.

  

Main sights :

 

The town is still surrounded by more than 9 kilometres of ancient walls, mainly built in the 15th and 16th centuries.[4] Together with those of Lucca, they are the best preserved Renaissance walls in Italy.

 

The most iconic building of the town is the imponent Castello Estense: sited in the very centre of the town, it's a brick building surrounded by a moat, with four massive bastions. It was built starting in 1385 and partly restored in 1554; the pavilions on the top of the towers date from the latter year.

 

The ancient City Hall, renovated in the 18th century, was the earlier residence of the Este family. Close by it is the former Cathedral of Saint George, begun in 1135, when the Romanesque lower part of the main façade and the side façades were completed. According to a now lost inscription the church was built in 1135 by Guglielmo I of Adelardi (d. 1146), who is buried in it. The sculpture of the main portal is the signed work of the "artifex" Nicholaus, mentioned in the lost inscription as the "architect" for the church. The upper part of the main façade, with arcades of pointed arches, dates from the 13th century, while the lower part of the protiro or projecting porch and the main portal are by Nicholaus. The recumbent lions guarding the entrance are replacements of the originals, now in the narthex of the church. The elaborate reflief sculptures depicting Last Judgement gracing the second story of the porch above date from the thirteenth century. The interior was restored in the baroque style in 1712. The campanile, in the Renaissance style, dates from 1451–1493, but the last storey was added at the end of the 16th century.

 

A little way off is the university, which has faculties of law, architecture, pharmacy, medicine and natural science; the library has valuable manuscripts, including part of that of the Orlando furioso and letters by Tasso. Its famous graduates include Nicolaus Copernicus (1503) and Paracelsus. Near the main university facilities it raises the University of Ferrara Botanic Garden.

 

Ferrara has many early Renaissance palaces, often retaining terracotta decorations; few towns of Italy as small have so many, though most are comparatively small in size. Among them may be noted those in the north quarter (especially the four at the intersection of its two main streets), which was added by Ercole I in 1492–1505, from the plans of Biagio Rossetti, and hence called the Addizione Erculea.

 

Among the finest palaces is Palazzo dei Diamanti (Diamond Palace), named after the diamond points into which the façade's stone blocks are cut. The palazzo houses the National Picture Gallery, with a large collection of the school of Ferrara, which first rose to prominence in the latter half of the 15th century, with Cosimo Tura, Francesco Cossa and Ercole dei Roberti. Noted masters of the 16th century School of Ferrara (Painting) include Lorenzo Costa and Dosso Dossi, the most eminent of all, Girolamo da Carpi and Benvenuto Tisi (il Garofalo).

 

The Casa Romei is the best preserved Renaissance building in Ferrara. It was the residence of Giovanni Romei, related to Este family by marriage to Polissena d'Este and likely the work of the court architect Pietro Bono Brasavola. It did not fall into decay because it was inherited by the nuns of the Corpus Domini order who lived there without making any changes to its structure. Much of the decoration in the inner rooms has been saved. There are fresco cycles in the Sala delle Sibille (Room of Sibyls), with its original terracotta fireplace bearing the coat of arms of Giovanni Romei, in the adjoining Saletta dei Profeti (Room of the Prophets), depicting allegories from the Bible and in other rooms, some of which were commissioned by cardinal Ippolito d'Este and painted by the school of Camillo and Cesare Filippi (16th century).

 

The Palazzo Schifanoia (sans souci) was built in 1385 for Alberto V d'Este. The palazzo includes frescoes depicting the life of Borso d'Este, the signs of the zodiac and allegorical representations of the months. The vestibule was decorated with stucco mouldings by Domenico di Paris. The building also contains fine choir-books with miniatures and a collection of coins and Renaissance medals.

 

The City Historical Archives contain a relevant amount of historical documents, starting from 15th century. The Diocesan Historical Archive is more ancient, mentioned in documents in A.D. 955, and contains precious documents collected across the centuries by the clergy.

 

The Corpus Domini Monastery contains tombs of the House of Este, including Alfonso I, Alfonso II, Ercole I, Ercole II, as well as Lucrezia Borgia, Eleanor of Aragon, and many more.

 

The Ferrara Synagogue and Jewish Museum are located in the heart of the mediæval centre, close to the cathedral and the Castello Estense. This street was part of the Jewish Quarter in which the Jews were separated from the rest of the population of Ferrara from 1627 to 1859.

 

ca. 1520-1525 --- by Dosso Dossi --- Image by © Arte & Immagini srl/CORBIS

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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Rtivo-ier dal foco Ricciardetto fomite,A l qttal dal Re Marfilw era dannato.Queipofcia la cantone à lungo fcwglie ,iA Ruo-o-ier,perche à morte era menate.Indi quegli ^fldigier non lieto accoglie ,E la mattina V* aajamo armato,Per far che Malami, e il buon Vintano,Non vadan prefi a Bertolagi in mano.

  

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ANTALYA, TURKEY - JANUARY 9: American Model Lindsay Ellingson poses to media after walked on the runway during the 19th Dosso Dossi Fashion Show on January 09, 2015 in Antalya, Turkey. (Photo by Suleyman Elcin/Anadolu Agency/Getty Images)

Full title: Lamentation over the Body of Christ

Artist: Dosso Dossi

Date made: perhaps about 1510-20

Source: www.nationalgalleryimages.co.uk/

Contact: picture.library@nationalgallery.co.uk

 

Copyright © The National Gallery, London

Dosso Dossi (1486-1542) - The Archangel Michael.

Detail.

Staatliche Kunstsammlungen Dresden..

 

Wikipedia Encyclopedia:

Dosso Dossi (c. 1490 – 1542), real name Giovanni di Niccolò de Luteri, was an Italian Renaissance painter who belonged to the Ferrara School of Painting.

 

Dossi was born in San Giovanni del Dosso, a village in the province of Mantua. His early training and life is not well documented; his father, originally of Trento, was a bursar (spenditore or fattore) for the Dukes of Ferrara. He may have had training locally with Lorenzo Costa or in Mantua, where he is known to have been in 1512. By 1514, he would begin three decades of service for dukes Alfonso I and Ercole II d'Este, becoming principal court artist. Dosso worked frequently with his brother Battista Dossi, who had trained in the Roman workshop of Raphael. The works he produced for the dukes included the ephemeral decorations of furniture and theater sets. He is known to have worked alongside il Garofalo in the Costabili polyptych. One of his pupils was Giovanni Francesco Surchi (il Dielai).

 

Dosso Dossi is known less for his naturalism or attention to design, and more for cryptic allegorical conceits in paintings around mythological themes, a favored subject for the humanist Ferrarese court (see also Cosimo Tura and the decoration of the Palazzo Schifanoia). Freedburg uses the term sprezzatura to refer to Dossi's caricature-like, primitivist, and eccentric distortions of proportion. Dossi is also known for the atypical choices of bright pigment for his cabinet pieces. Some of his works, such as the Deposition have lambent qualities that suggest some of Correggio's works. Most of his works feature Christian and Ancient Greek themes and use oil painting as a medium.

 

Here you find a link to the Museum:

www.skd.museum/

 

See also my list of best and worst museums in the world:

www.flickr.com/photos/menesje/4059308291/

And here you find my list of best and worst museums in Holland:

www.flickr.com/photos/menesje/4059604700/

 

Identifier: paintersofschool00gardrich

Title: The painters of the school of Ferrara

Year: 1911 (1910s)

Authors: Gardner, Edmund Garratt, 1869-1935

Subjects: Painters -- Italy Ferrara Painters -- Italy Bologna Painting -- Italy Ferrara Painting -- Italy Bologna Ferrara (Italy) -- History Bologna (Italy) -- History

Publisher: London : Duckworth New York : Charles Scribner's Sons

Contributing Library: University of California Libraries

Digitizing Sponsor: MSN

  

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rately copying from Raphael. Moreplausible is the almost contemporary statement ofLodovico Dolce, in his Dialogo della Pittura, whichis said to have been inspired by Titian himself, andin which he represents Pietro Aretino saying of thetwo Dossi: One of them stayed here at Venice forsome time to learn to paint with Titian, and the otherin Rome with Raphael; though he adds that in-stead they adopted such a clumsy manner that theyare unworthy of the pen of so great a poet asAriosto.^ It is possible, however, that, in the caseof Battista, this refers to a later epoch, as there isdocumentary evidence that he was in Rome, apparentlyworking under Raphael, in 1520, and he was there,most likely, from 1517 to 1524. Traces of Costas influence may be discerned inthe work of Dosso Dossi. In the formers admirableportrait of Battista Fiera in the National Gallery, weseem to find Dossos whimsical but powerful style of 1 I. p. 251. 2 Dialogo della Pittura intitolato VAretino (Venice, 1557), p. 9v. i:

 

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T.■tl o Ci o mO ^* DOSSO AND BATTISTA DOSSI 147 portraiture in germ, and the figure of St. John inCosta^s altarpiece, in the same collection, distinctlyanticipates the pose and character of Dosso*s similarpresentment of the Evangelist in the great picture fromSanf Andrea now in the pinacoteca at Ferrara. We have no documentary evidence of Dosso**? pre-sence in his native city until 1517, when both he andBattista first appear in the ducal service.^ He maywell have gone to Venice before 1506, when Costasschool was broken up. But, when the League ofCambrai bore fruit in war, and Duke Alfonso him-self, in 1510, took the field against the armies of therepublic, Venice became an intolerable place of resi-dence for a subject of the House of Este, and Dossojoined his former master at Mantua. There is docu-mentary evidence of his presence there in 1511 and1512. No traces remain of the work that heexecuted for the Gonzaga; but his stay at Mantuahas left its mark upon the history of art, for i

  

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Dosso Dossi (?) (1486-1541-2) - Portrait of a Money-Changer : detail

Title: Orlando furioso. /

Identifier: orlandofurios00ario

Year: 1556 (1550s)

Authors: Ariosto, Lodovico, 1474-1533 Ruscelli, Girolamo, d. ca. 1565 Pigna, Giovan Battista, 1529-1575 Rota, Giovanni Battista, fl. 1556 Dossi, Dosso, d. 1542 Valgrisius, Vincentius, fl. 1543-1575

Subjects:

Publisher: In Venetia, // Appresso Vicenzo Valgrisi, nella bottega d'Erasmo. /

  

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ngere in queflo fine di quetìo uolume, le allegorie del fopranomina*to S. Gio. Battifla Pigna fopra il Furiofo, ey aggiunger itene alcune di quelle del Torturi, ey apprefcfofarui io un mio difeorfo intorno alle allegorie, ey intorno al modo di faperli conucneuolmcntc tifa*re,et ne i luoghi ey nelle occafioni che le ricettato ey le rieercano.Ma perche queflo uolume è crefeiuto molto, ey forfè più di quello che M. Vicenzo che lo fa, hauea diuifato che deueffe effere, è fòrzadiriferbar queflo, ey qualche altra cofa tale,a metterle nelle BELLEZZE del Furiofo,doue in tutti i modi conuicn che fé ne ragioni, fenza che à pieno ne tratto nella mia poetica. Oue à lun-go fi difeorre tra le altre cofe del modo dadoriure così nella lingua,come nelle cofc,ogniforte di poesma cosi Lirico come Epico in ogni idioma fecondo i modi dellcffcrfuo. <- .* VOCABOLARIO DI TVTTE LE PAROLE CHE SONO NEL FV RI O S O, LE QV^CLI POTESSERO ESSERE OSCVREA QVEI CHE NON SANNO LETTE» RD LATINE, Ol TOSCANE.

 

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Bbacinare, erAbbagliare, erAbbarbagliare, taglio*no offufcare, er indebolirla ttijla con alcuna cofa3j troppo lucente. Oueultimijono del Petrarca,E7 Sol abbagli* chi ben fifo il guarda.La uifta,che da lungi labbarbaglia.il terzo è de gli fcritton più anttchi,ey credoper certo chefìa nerbo fatto da quefia noce,B a e i n o , che Tofcanawcnte fi dicono queiuafi larghi dottone, 6 dargento, ò daltro metallo,che più communementc in Italia diconoper tutto baci l i,cr « Latini pelucs, che fonqui come catini, che sadoprano nel daracquaalle mani ,crdai barbieri, cr altri. Et per*che in Turchia, in Afiica,ey altroue, quandouogliono benignamente, cyfenzafanguepri*uare alcuno della uijla,come il figliuolo del Redi Timi/i fece non haguari à fuo padre ,fo*gliono prendere uno di detti bacini, cr empitidi bragia ben dece fa, gli fanno appreffare àgliocchi di colui che uogliono accecare, perqtiefto io tengo fermamente, che non daltronie,che taleffettori facete nella nofira linguail detto uerb.

  

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