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Updated: June 17, 2025
For Cardinal Colonna he painted a S. John on canvas, for which, on account of its beauty, that Cardinal had an extraordinary love; but happening to be attacked by illness, he was asked by Messer Jacopo da Carpi, the physician who cured him, to give it to him as a present; and because of this desire of Messer Jacopo, to whom he felt himself very deeply indebted, he gave it up.
See Guide to the Italian Pictures at Hampton Court, by Mary Logan, 1894. Official Catalogue, and Crowe and Cavalcaselle, ii. 502. Pater: The Renaissance, p. 158. ii. 219. The execution of this grotesque picture is probably due to Girolamo da Carpi, or some other assistant of Dosso. The subject is derived from a passage in the De Divinitate of Cicero, as Herr Wickhoff has pointed out.
I often examine these tragic portraits, wondering what this face, which led so many men to their death, may have been like when it spoke or smiled, what at the moment when Medea da Carpi fascinated her victims into love unto death "Amour Dure Dure Amour," as runs her device love that lasts, cruel love yes indeed, when one thinks of the fidelity and fate of her lovers. Oct. 13th.
And only death, the willingness to pay for such happiness by death, can at all make a man worthy of being her lover; he must be willing to love and suffer and die. This is the meaning of her device "Amour Dure Dure Amour." The love of Medea da Carpi cannot fade, but the lover can die; it is a constant and a cruel love. Nov. 11th. I was right, quite right in my idea. I have found Oh, joy!
The method of executing these two kinds of woodcuts, in imitation of chiaroscuro, thus invented by Ugo da Carpi, was the reason that, many following in his steps, a great number of most beautiful prints were produced by others.
Annibale Griffoni, a pupil of Fassi, applied the art to monuments. Giovanni Cavignani, also a pupil of Fassi, far surpassed his master, and executed an altar of St. Antonio, for the church of S. Niccolo, at Carpi, which is still pointed out as something extraordinary.
It consists of two columns of porphyry adorned with a pallium, covered with lace, which last is an exact imitation of the covering of an altar, while it is ornamented in the margin with medals, bearing beautiful figures. In the Cathedral at Carpi, is a monument by one Ferrari, which so perfectly imitates marble that it cannot be distinguished from it, except by fracture.
On flexing the wrist, the hand is tilted to the radial side, but the paralysis of the flexor carpi ulnaris is often compensated for by the action of the palmaris longus. The little and ring fingers can be flexed to a slight degree by the slips of the flexor sublimis attached to them and supplied by the median nerve; flexion of the terminal phalanx of the little finger is almost impossible.
Girolamo da Carpi having received his first instructions in painting from Benvenuto, as will be related in his Life, they painted in company the façade of the house of the Muzzarelli, in the Borgo Nuovo, partly in chiaroscuro and partly in colours, with some things done in imitation of bronze.
Girolamo, then, called Da Carpi, who was a Ferrarese and a disciple of Benvenuto, was employed at first by his father Tommaso, who was a kind of house-painter, in his workshop, to paint strong-boxes, stools, mouldings, and other suchlike commonplace things.
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