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

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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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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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...

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.

  

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.

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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il Re ^A^ram.iute e (iifu^girjor^ato ,E Bijcì-tà .mìei- di lontano Tede ;Ma tocco tara , ha ti Sericoli troitato\Che darli ej penai-^a di juàfede ;Orlando con duo altri han disfidato,Cui per fermo (^radafjò incider credtPer difcior fette Re da la catenaFieri colpi Auggier con Dudon mena.

 

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Dosso Dossi (active 1512; died 1542) - Lamentation over the Body of Christ (Pieta), 1510-20 : 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

 

Text Appearing After Image:

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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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...

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

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.

 

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

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)

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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© Randall Hobbet - All rights reserved - 2014 Getty Center, Los Angeles: Dosso focused on the complex psychology of the saint as he emerges from his legendary battle with the dragon. The saint's furrowed brow, emotive eyes, and open mouth suggest the toll of the fieerce fight mixed with dawning, sorrowful relief. Dosso's use of light and color for dramatic effect can also be seen in the artist's later work.

Dosso Dossi. 1489 1542. Ferrare. Saint Jérome. KHM VIenne.

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