Italian Painting 9

As a technician Perugino was excellent. There was no

PERUGINO. MADONNA, SAINTS, AND ANGELS. LOUVRE.

dramatic fire and fury about him. The composition was simple, with graceful figures in repose. The coloring was rich, and there were many brilliant effects obtained by the use of oils. He was among the first of his school to use that medium. His friend and fellow-worker, Pinturricchio (1454-1513), did not use oils, but was a superior man in fresco. In type and sentiment he was rather like Perugino, in composition a little extravagant and huddled, in landscape backgrounds quite original and inventive. He never was a serious rival of Perugino, though a more varied and interesting painter. Perugino's best pupil, after Raphael, was Lo Spagna (?-1530 ?), who followed his master's style until the High Renaissance, when he became a follower of Raphael.
SCHOOLS OF FERRARA AND BOLOGNA : The painters of Ferrara, in the fifteenth century, seemed to have relied upon Padua for their teaching. The best of the early men was Cosimo Tura (11430-1495), who showed the Paduan influence of Squarcione in anatomical insistences, coarse joints, infinite detail, and fantastic ornamentation. He was probably the founder of the school in which Francesco Cossa (fl. 1435-148o), a naif and strong, if somewhat morbid painter, Ercole di Giulio Grandi (fl. 1465-1535), and Lorenzo Costa (146o ?-1535) were the principal masters. Cossa and Grandi, it seems, afterward removed to Bologna, and it was probably their move that induced Lorenzo Costa to follow them. In that way the Ferrarese school became somewhat complicated with the Bolognese school, and is confused in its history to this day. Costa was not unlikely the real founder, or, at the least, the strongest influencer of the Bolognese school. He was a painter of a rugged, manly type, afterward tempered by Southern influences to softness and sentiment. This was the result of Paduan methods meeting at Bologna with Umbrian sentiment.
The Perugino type and influence had found its way to Bologna, and showed in the work of Francia (1450-151:8), a contemporary and fellow-worker with Costa. Though trained as a goldsmith, and learning painting in a different school, Francia, as regards his sentiment, belongs in the same category with Perugino. Even his subjects, types, and treatment were, at times, more Umbrian than Bolognese. He was not so profound in feeling as Perugino, but at times he appeared loftier in conception. His color was usually rich, his drawing a little sharp at first, as showing the goldsmith's hand, the surfaces smooth, the detail elaborate. Later on, his work had a Raphaelesque tinge, showing perhaps the influence of that rising master. It is probable that Francia at first was influenced by Costa's methods, and it is quite certain that he in turn influenced Costa in the matter of refined drawing and sentiment, though Costa always adhered to a certain detail and ornament coming from the north, and a landscape background that is peculiar to himself, and yet reminds one of Pinturricchio's landscapes. These two men, Francia and Costa, were the Perugino and Pinturricchio of the Ferrara-Bolognese school, and the most important painters in that school
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