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Dosso Dossi (1486-1541) Ferrare.

L'archange Saint Michel.

Dresde. Gemäldegalerie Alte Meister.

Dosso Dossi (1486-1541) Battista Dossi (1500-1548) Ferrare.

Saint George. 1540.

Dresde. Gemäldegalerie Alte Meister.

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.

 

Dosso Dossi (1486-1541) Ferrare.

L'archange Saint Michel.

Dresde. Gemäldegalerie Alte Meister.

Dosso Dossi (1486-1541) Ferrare.

L'archange Saint Michel.

Dresde. Gemäldegalerie Alte Meister.

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/

The nymph and the satyr, by Dosso Dossi | | August 9, 2014 | Canon EOS 5D Mark III | ¹⁄₂₅ sec at f/4.0 2000

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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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. /

  

View Book Page: Book Viewer

About This Book: Catalog Entry

View All Images: All Images From Book

 

Click here to view book online to see this illustration in context in a browseable online version of this book.

  

Text Appearing Before Image:

 

Text Appearing After Image:

  

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.

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...

Circe and her Lovers in a Landscape

 

oil on canvas, c. 1525

DOSSO DOSSI

 

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/

 

Ferrara is a city and commune in Emilia Romagna, northern Italy, capital of the province of Ferrara. It is located 50 kilometers (31 miles) north-north-east of Bologna, in the Po di Volano, a channel of the main stream of the River Po, located 5 km (3 miles) to the north. The city has wide streets and numerous palaces dating from the 14th and 15th centuries, when it was the seat of the court of the House of Este. For its beauty and cultural importance it has been qualified by UNESCO as a World Heritage Site. Modern times have brought a renewal of industrial activity. Ferrara is on the main railway line from Bologna to Padua and Venice, and has branches to Ravenna, Poggio Rusco (by Suzzara) and Codigoro .About this sound

 

Civic and secular monuments

The city is still surrounded by more than 9 kilometers (6 miles) of old, mainly built in the 16th to the 15th and. Along with those of Lucca, that are the best preserved Renaissance walls of Italy.

 

The imposing brick Castle of the East located in the center of the city is an icon of Ferrara. The castle, erected in 1385, is surrounded by a moat, with four massive bastions. The pavilions at the top of the towers date back to the 16th century refurbishment.

 

The town hall, renovated in the 18th century, was the former residence of the family. Nearby is the ancient cathedral of San Giorgio, the Romanesque lower part of the main facade and side facades were completed for the first time in 1135. According to a now lost inscription the church had been commissioned by Guglielmo I of Adelardi (d. 1146). The sculpture of the main portal was signed by a Nicholaus, mentioned in the lost inscription as Romanesque architect of the church. The upper part of the main facade, with arcades of semicircular arches, dates from the 13th century. The lions guarding the entrance reclined are copies of the originals, now in the atrium of the church. An elaborate relief of the 13th century representing the final judgment is found on the second floor of the porch. The interior was restored in the Baroque style in 1712. The bell tower, in the Renaissance style, dates from 1451 to 1493, but was added the highest floor at the end of the 16th century. The bell tower is still incomplete, missing an additional floor and a Tapered cap, as can be seen from numerous historical prints and paintings on the subject.

 

Nearby is the University of Ferrara; The university library starts from the furious Orlando manuscript and Tasso's letters. His famous graduates include Nicolaus Copernicus (1503) and Paracelsus. The campus also houses the Botanic Garden of the University of Ferrara.

 

Unlike other cities, Ferrara retains many of the early Quattrocento palaces, often retaining terracotta decorations, although most are of relatively small size. Among them are those from the north (especially the four at the intersection of the two main streets), which was added by Ercole I in 1492-1505, from the plans of Biagio Rossetti, and is therefore called Addizione Erculea.

 

Among the most distinguished places is the Palazzo dei Diamanti (Diamond Palace), the name of the diamonds of the points where stone blocks of the facade are cut. The palace houses the National Pinacoteca, 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. Amos known from the 16th century School of Ferrara include Lorenzo Costa and Dosso Dossi, the most eminent of all, Girolamo da Carpi and Benvenuto Tisi (Garofalo IL).

 

La Casa Romei is perhaps the best preserved Renaissance building in Ferrara. It was the residence of Giovanni Romei, related by marriage to the Este family, and is likely the work of court architect Pietro Bono Brasavola. The occupation of the palace by the nuns of the Order of Corpus Christi prevented its destruction. Much of the decoration of the interior rooms has been saved. There are cycles of frescoes in the Sala de las Sibille (Room of the Sibyls), with its original terracotta fireplace with the coat of arms of Giovanni Romei, in the adjoining Saletta dei Profeti (Hall of the Prophets), representing allegories of the Bible and In the other rooms, some of which were commissioned by Cardinal Ippolito d'Este and painted by the school of Camillo and Cesare Filippi (16th century).

 

Palazzo Schifanoia (Sans Souci) was built in 1385 by Alberto V d'Este. The palace includes frescoes depicting the life of Borso d'Este, the signs of the zodiac and allegorical representations of the months. The lobby was decorated with stucco molded by Domenico di Paris.

  

Ferrara es una ciudad y comuna en Emilia Romagna , norte de Italia, capital de la provincia de Ferrara . Está situado a 50 kilómetros (31 millas) al norte-noreste de Bolonia , en el Po di Volano, un canal de derivación de la corriente principal del río Po , situado a 5 km (3 millas) al norte. La ciudad cuenta con amplias calles y numerosos palacios que datan de los siglos 14 y 15, cuando fue sede de la corte de la Casa de Este . Por su belleza e importancia cultural que ha sido calificado por la UNESCO como patrimonio de la humanidad . Los tiempos modernos han traído una renovación de la actividad industrial. Ferrara está en la línea ferroviaria principal de Bolonia a Padua y Venecia , y tiene sucursales a Rávena , Poggio Rusco (por Suzzara ) y Codigoro .Acerca de este sonido

 

Cívica y monumentos seculares

La ciudad todavía está rodeado por más de 9 kilómetros (6 millas) de las antiguas, construidas principalmente en el 16 al siglos 15 y. [3] Junto con los de Lucca , que son las murallas renacentistas mejor conservados de Italia.

 

El ladrillo imponente Castillo de los Este situada en el centro de la ciudad es un icono de Ferrara. El castillo, erigido en 1385, está rodeado por un foso , con cuatro bastiones masivos. Los pabellones en la parte superior de las torres datan de la remodelación del siglo 16.

 

El ayuntamiento, reformado en el siglo 18, fue la residencia anterior del Este familiar. Muy cerca está la antigua catedral de San Giorgio , El románico parte inferior de la principal fachada y las fachadas laterales se completó por primera vez en 1135. De acuerdo con una inscripción ahora perdida la iglesia había sido encargado por Guglielmo I de Adelardi (m. 1146) . La escultura del portal principal fue firmado por un Nicholaus, mencionado en la inscripción perdida como arquitecto románico de la iglesia. La parte superior de la fachada principal, con arcadas de arcos de medio punto, data del siglo 13. Los leones que guardan la entrada reclinadas son copias de los originales, ahora en el atrio de la iglesia. Un alivio elaborada del siglo 13 que representa el juicio final se encuentra en el segundo piso del porche. El interior fue restaurado en el barroco estilo en 1712. El campanario , en el Renaissance estilo, data de 1451 hasta 1493, pero se añadió el piso más alto al final del siglo 16. El campanario es aún incompleta, falta un piso adicional y una tapa cónica, como se puede observar a partir de numerosas impresiones históricas y pinturas sobre el tema.

 

Muy cerca se encuentra la Universidad de Ferrara ; La biblioteca universitaria parte del manuscrito del Orlando furioso y cartas de Tasso . Sus famosos graduados incluyen Nicolaus Copernicus (1503) y Paracelso . El campus también alberga el Jardín Botánico de la Universidad de Ferrara .

 

A diferencia de otras ciudades, Ferrara conserva muchos de los primeros Quattrocento palacios, a menudo reteniendo terracota decoraciones, aunque la mayoría son de tamaño relativamente pequeño. Entre ellos se encuentran los de la parte del norte (especialmente los cuatro en la intersección de las dos calles principales), que se añadió por Ercole I en 1492-1505, a partir de los planes de Biagio Rossetti , y por ello se llama Addizione Erculea .

 

Entre los lugares más distinguidos es el Palazzo dei Diamanti ( Diamond Palace ), el nombre de los diamantes de los puntos en los que se cortan bloques de piedra de la fachada. El palacio alberga la Pinacoteca Nacional, con una gran colección de la escuela de Ferrara, que primero se levantó a la prominencia en la última mitad del siglo 15, con Cosimo Tura , Francesco Cossa y Ercole dei Roberti . Amos conocidos del siglo 16 Escuela de Ferrara incluyen Lorenzo Costa y Dosso Dossi , el más eminente de todo, Girolamo da Carpi y Benvenuto Tisi (Garofalo IL) .

 

La Casa Romei es quizás el edificio renacentista mejor conservado en Ferrara. Fue la residencia de Giovanni Romei, relacionado por matrimonio con la familia Este, y es probable que el trabajo del arquitecto de la corte Pietro Bono Brasavola . La ocupación del palacio por las monjas de la orden de Corpus Christi impidió su destrucción. Gran parte de la decoración de las habitaciones interiores se ha guardado. Hay ciclos de frescos en la Sala de las Sibille (Sala de Sibilas), con su original de terracota chimenea con el escudo de armas de Giovanni Romei, en el colindante Saletta dei Profeti (Sala de los Profetas), representando alegorías de la Biblia y en la otra habitaciones, algunas de las cuales fueron encargados por el cardenal Ippolito d'Este y pintado por la escuela de Camillo y Cesare Filippi (siglo 16).

 

El Palazzo Schifanoia ( Sans Souci ) fue construido en 1385 por Alberto V d'Este . El palacio incluye frescos que representan la vida de Borso d'Este , los signos del zodiaco y alegóricas representaciones de los meses. El vestíbulo estaba decorado con estuco moldeados por Domenico di Paris .

 

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

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:

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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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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.

  

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.

  

Ferrara is a city and commune in Emilia Romagna, northern Italy, capital of the province of Ferrara. It is located 50 kilometers (31 miles) north-north-east of Bologna, in the Po di Volano, a channel of the main stream of the River Po, located 5 km (3 miles) to the north. The city has wide streets and numerous palaces dating from the 14th and 15th centuries, when it was the seat of the court of the House of Este. For its beauty and cultural importance it has been qualified by UNESCO as a World Heritage Site. Modern times have brought a renewal of industrial activity. Ferrara is on the main railway line from Bologna to Padua and Venice, and has branches to Ravenna, Poggio Rusco (by Suzzara) and Codigoro .About this sound

 

Civic and secular monuments

The city is still surrounded by more than 9 kilometers (6 miles) of old, mainly built in the 16th to the 15th and. Along with those of Lucca, that are the best preserved Renaissance walls of Italy.

 

The imposing brick Castle of the East located in the center of the city is an icon of Ferrara. The castle, erected in 1385, is surrounded by a moat, with four massive bastions. The pavilions at the top of the towers date back to the 16th century refurbishment.

 

The town hall, renovated in the 18th century, was the former residence of the family. Nearby is the ancient cathedral of San Giorgio, the Romanesque lower part of the main facade and side facades were completed for the first time in 1135. According to a now lost inscription the church had been commissioned by Guglielmo I of Adelardi (d. 1146). The sculpture of the main portal was signed by a Nicholaus, mentioned in the lost inscription as Romanesque architect of the church. The upper part of the main facade, with arcades of semicircular arches, dates from the 13th century. The lions guarding the entrance reclined are copies of the originals, now in the atrium of the church. An elaborate relief of the 13th century representing the final judgment is found on the second floor of the porch. The interior was restored in the Baroque style in 1712. The bell tower, in the Renaissance style, dates from 1451 to 1493, but was added the highest floor at the end of the 16th century. The bell tower is still incomplete, missing an additional floor and a Tapered cap, as can be seen from numerous historical prints and paintings on the subject.

 

Nearby is the University of Ferrara; The university library starts from the furious Orlando manuscript and Tasso's letters. His famous graduates include Nicolaus Copernicus (1503) and Paracelsus. The campus also houses the Botanic Garden of the University of Ferrara.

 

Unlike other cities, Ferrara retains many of the early Quattrocento palaces, often retaining terracotta decorations, although most are of relatively small size. Among them are those from the north (especially the four at the intersection of the two main streets), which was added by Ercole I in 1492-1505, from the plans of Biagio Rossetti, and is therefore called Addizione Erculea.

 

Among the most distinguished places is the Palazzo dei Diamanti (Diamond Palace), the name of the diamonds of the points where stone blocks of the facade are cut. The palace houses the National Pinacoteca, 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. Amos known from the 16th century School of Ferrara include Lorenzo Costa and Dosso Dossi, the most eminent of all, Girolamo da Carpi and Benvenuto Tisi (Garofalo IL).

 

La Casa Romei is perhaps the best preserved Renaissance building in Ferrara. It was the residence of Giovanni Romei, related by marriage to the Este family, and is likely the work of court architect Pietro Bono Brasavola. The occupation of the palace by the nuns of the Order of Corpus Christi prevented its destruction. Much of the decoration of the interior rooms has been saved. There are cycles of frescoes in the Sala de las Sibille (Room of the Sibyls), with its original terracotta fireplace with the coat of arms of Giovanni Romei, in the adjoining Saletta dei Profeti (Hall of the Prophets), representing allegories of the Bible and In the other rooms, some of which were commissioned by Cardinal Ippolito d'Este and painted by the school of Camillo and Cesare Filippi (16th century).

 

Palazzo Schifanoia (Sans Souci) was built in 1385 by Alberto V d'Este. The palace includes frescoes depicting the life of Borso d'Este, the signs of the zodiac and allegorical representations of the months. The lobby was decorated with stucco molded by Domenico di Paris.

  

Ferrara es una ciudad y comuna en Emilia Romagna , norte de Italia, capital de la provincia de Ferrara . Está situado a 50 kilómetros (31 millas) al norte-noreste de Bolonia , en el Po di Volano, un canal de derivación de la corriente principal del río Po , situado a 5 km (3 millas) al norte. La ciudad cuenta con amplias calles y numerosos palacios que datan de los siglos 14 y 15, cuando fue sede de la corte de la Casa de Este . Por su belleza e importancia cultural que ha sido calificado por la UNESCO como patrimonio de la humanidad . Los tiempos modernos han traído una renovación de la actividad industrial. Ferrara está en la línea ferroviaria principal de Bolonia a Padua y Venecia , y tiene sucursales a Rávena , Poggio Rusco (por Suzzara ) y Codigoro .Acerca de este sonido

 

Cívica y monumentos seculares

La ciudad todavía está rodeado por más de 9 kilómetros (6 millas) de las antiguas, construidas principalmente en el 16 al siglos 15 y. [3] Junto con los de Lucca , que son las murallas renacentistas mejor conservados de Italia.

 

El ladrillo imponente Castillo de los Este situada en el centro de la ciudad es un icono de Ferrara. El castillo, erigido en 1385, está rodeado por un foso , con cuatro bastiones masivos. Los pabellones en la parte superior de las torres datan de la remodelación del siglo 16.

 

El ayuntamiento, reformado en el siglo 18, fue la residencia anterior del Este familiar. Muy cerca está la antigua catedral de San Giorgio , El románico parte inferior de la principal fachada y las fachadas laterales se completó por primera vez en 1135. De acuerdo con una inscripción ahora perdida la iglesia había sido encargado por Guglielmo I de Adelardi (m. 1146) . La escultura del portal principal fue firmado por un Nicholaus, mencionado en la inscripción perdida como arquitecto románico de la iglesia. La parte superior de la fachada principal, con arcadas de arcos de medio punto, data del siglo 13. Los leones que guardan la entrada reclinadas son copias de los originales, ahora en el atrio de la iglesia. Un alivio elaborada del siglo 13 que representa el juicio final se encuentra en el segundo piso del porche. El interior fue restaurado en el barroco estilo en 1712. El campanario , en el Renaissance estilo, data de 1451 hasta 1493, pero se añadió el piso más alto al final del siglo 16. El campanario es aún incompleta, falta un piso adicional y una tapa cónica, como se puede observar a partir de numerosas impresiones históricas y pinturas sobre el tema.

 

Muy cerca se encuentra la Universidad de Ferrara ; La biblioteca universitaria parte del manuscrito del Orlando furioso y cartas de Tasso . Sus famosos graduados incluyen Nicolaus Copernicus (1503) y Paracelso . El campus también alberga el Jardín Botánico de la Universidad de Ferrara .

 

A diferencia de otras ciudades, Ferrara conserva muchos de los primeros Quattrocento palacios, a menudo reteniendo terracota decoraciones, aunque la mayoría son de tamaño relativamente pequeño. Entre ellos se encuentran los de la parte del norte (especialmente los cuatro en la intersección de las dos calles principales), que se añadió por Ercole I en 1492-1505, a partir de los planes de Biagio Rossetti , y por ello se llama Addizione Erculea .

 

Entre los lugares más distinguidos es el Palazzo dei Diamanti ( Diamond Palace ), el nombre de los diamantes de los puntos en los que se cortan bloques de piedra de la fachada. El palacio alberga la Pinacoteca Nacional, con una gran colección de la escuela de Ferrara, que primero se levantó a la prominencia en la última mitad del siglo 15, con Cosimo Tura , Francesco Cossa y Ercole dei Roberti . Amos conocidos del siglo 16 Escuela de Ferrara incluyen Lorenzo Costa y Dosso Dossi , el más eminente de todo, Girolamo da Carpi y Benvenuto Tisi (Garofalo IL) .

 

La Casa Romei es quizás el edificio renacentista mejor conservado en Ferrara. Fue la residencia de Giovanni Romei, relacionado por matrimonio con la familia Este, y es probable que el trabajo del arquitecto de la corte Pietro Bono Brasavola . La ocupación del palacio por las monjas de la orden de Corpus Christi impidió su destrucción. Gran parte de la decoración de las habitaciones interiores se ha guardado. Hay ciclos de frescos en la Sala de las Sibille (Sala de Sibilas), con su original de terracota chimenea con el escudo de armas de Giovanni Romei, en el colindante Saletta dei Profeti (Sala de los Profetas), representando alegorías de la Biblia y en la otra habitaciones, algunas de las cuales fueron encargados por el cardenal Ippolito d'Este y pintado por la escuela de Camillo y Cesare Filippi (siglo 16).

 

El Palazzo Schifanoia ( Sans Souci ) fue construido en 1385 por Alberto V d'Este . El palacio incluye frescos que representan la vida de Borso d'Este , los signos del zodiaco y alegóricas representaciones de los meses. El vestíbulo estaba decorado con estuco moldeados por Domenico di Paris .

 

Dosso Dossi. (Giovanni Luteri) 1489-1542 Ferrare. Nymphe et Satyre. Vers 1510. Florence. Palazzo Pitti. Galleria Palatina.

 

Dosso Dossi. (Giovanni Luteri) 1489-1542. Ferrara. Nymph and Satyr. Around 1510. Florence. Palazzo Pitti. Palatine Gallery.

The Three Ages of Man, ca. 1515

Dosso Dossi (Giovanni de Lutero) (Italian, Ferrarese, 1486?–1542)

Oil on canvas; 30 1/2 x 44 in. (77.5 x 111.8 cm)

Maria DeWitt Jesup Fund, 1926 (26.83)

 

This painting is one of Dosso Dossi's finest surviving landscapes. The subject of the painting has been a matter of some debate, and its current title derives from the three pairs of figures—two children, two young adults, and two older men—which may be symbolic of the three stages of life. This interpretation is questionable on two counts. First, that the boys seem to be spying on the amorous couple (who also must contend with the goats pressing in against them) implies a narrative unified in time, rather than completely separate vignettes. Then, technical evidence shows that the old men were painted over the already completed vegetation and thus may have been afterthoughts.

 

The historian Paolo Giovio, a contemporary of the artist, made a distinction between Dosso's "proper works" (justis operibus)—that is, those with serious subjects—and his landscapes, which he called parerga, embellishments meant to delight and refresh, without any deeper purpose. As Giovio knew, such an approach had a direct precedent in the work of the ancient Roman artist Studius, as described by Pliny, which added to its cachet. Dosso and his patrons, Duke Alfonso I d'Este above all, would have been aware of, and appreciated, this classical parallel.

1525

oil on canvas

 

National Gallery of Art

Washington, D.C.

USA

 

www.nga.gov/content/ngaweb.html

 

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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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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:

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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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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

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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)

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 (1486-1542) - 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/

 

Dosso Dossi (active 1512; died 1542) - A Man embracing a Woman, c1524

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

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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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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mala ò poca informatone, ò per altra cagione sè fatto conofeere Sbatter tratta*toin molti luoghi affalò fi-eddamente ,òdtuerjamente molte cofé che farebbono al itero intendimeli*to di quefto libro, cy allo fblendore de glìllufirifiimi Sign.Eftenfi delletà nojhra. Per più impor*tante intendimento poi, CT più particolar di tutte quelle cofe, che fono come anima di quefto libro , fidefidera unmerfaimente da tutte le perfone di conto, un particolar uolume, oue diftefamente fi habbia*no tutte le principali isìone della detta ìlluftrifima cafa E s t n n s e . L e quali con laiuto di Dio ,fbe*ro di dario al mondo fra non molto tempo, si come ho detto, ne i primi figli, nella dedicatane allillu-{Irifiimo, cy eccellentif.imo Signor Principe di Ferrara, cy nella episìola à t Lettori. E r poi che ancor fono in quefte cofe, che appartengono allintendimento del Furiofo in ttniuerfa-te,nonùoglio mancar di aggiungerin alcune bruiti tnformatiom del mio S.FaiftodaLongiano, Etfon quefte.

 

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Esser lvdovico Ariosto nel svo fvriosofu diligente imitatore de i poeti antichi, Greci cy Latini, cy mafiime de ifitprc*mi due, Omero,cy Virgilio, né da loro fi dilunga molto . \l poeta Greco,cy ilLatino, prefero un medefimo foggetto, che fu della guerra Troiana, lAriosi*ad imitattonc loro formò unaltra quafi confimile guen-a. Li due poeti hora flatino sii la ucrità dellifloria, hora fingono,il mede fimo fa lArioflo. La caufa dellaguerra Troiana fu la rapina dElena, onde per ribatterla, et per uendicarfi dev-olir aggio ricettato Menclao,cy Agamennone fi-atelli, congregarono tutta la Grecia a quella fattionctnfiio fattore. La caufa della guerra di Yr ancia ,fu la morte di Troiano, che Agr amante per defideriodi uendetta del padre, fece uno sfòrzo di tutte le genti dAfrica, che potcron portar arme, et conuocòtutti gli agenti, et saggiunfe à Marfilio, ilquale era già itcnuto con tutta la Spagna à danni é Francia.Come laguerra Troiana non poteuafbcdirfifcnza Vlifie, così la Fran

  

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