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Updated: June 23, 2025
And all the masters who worked for the Este dukes, whether they were men of native or foreign birth Vittore Pisanello and Jacopo Bellini, Cosimo Tura and Dosso Dossi took delight in the old story, and painted the legend of St. George and Princess Sabra in the frescoes or altar-pieces with which they adorned the churches and castle halls. The Estes, who took St.
Another picture in the Pitti was also recognised by Morelli as Giorgione's work "The Nymph pursued by a Satyr." Modern criticism seems undecided on the justice of this view, some writers inclining to the belief that this is a Giorgionesque production of Dosso Dossi, others preserving a discreet silence, or making frank avowal of their inability to decide.
The graves of Lucretia and Alfonso and numerous other members of the house of Este in Ferrara have disappeared. No picture of the famous woman exists either in that city or in Modena. Although many, doubtless, were painted, none has been preserved. In Ferrara there were numerous artists, Dossi, Garofalo, Cosma, and others. Titian may have painted the beautiful duchess's portrait.
They do not represent, the Assumption, nor yet the reception of Mary in Heaven, as is usually supposed; but the election or predestination of Mary as the immaculate vehicle or tabernacle of human redemption the earthly parent of the divine Saviour. I have described such a picture by Dosso Dossi, and another by Cottignola.
All these were done as a brotherly gift, and after they were finished, the abbot, Don Andrea Dossi, gave him a commission to paint a Last Supper in the refectory, which he did, placing the portrait of the abbot in the corner.
Gold and untouched to poetry or piety by scenes that ought to blend the spirit in ourselves with spirit in the world without, we can but wonder how this phantom show of mystery and beauty will pass away from us how soon and we be where, see what, use all our sensibilities on aught or nought? In the picture-gallery at Modena there is a masterpiece of Dosso Dossi.
And so, after parting company with the Dossi, who had worked with him up to that time, he painted by himself in the Church of S. Francesco, in a little chapel, the Raising of Lazarus, a work filled with a variety of good figures, and pleasant in colouring, with attitudes spirited and vivacious, which brought him much commendation.
But Benvenuto had not been long with the Marquis, when, his father Piero falling ill in Ferrara, he was forced to return to that city, where he stayed afterwards for four years together, executing many works by himself alone, and some in company with the Dossi.
Thither, likewise, were summoned the Dossi of Ferrara, and a room was assigned to them to paint; but since, when they had finished that room, it did not please the Duke, he had it thrown down and repainted by the masters mentioned above.
We would willingly, as Protestants, have visited this wicked chapel; but we were prevented from seeing it, as well as the famous frescoes of Dosso Dossi in the Hall of Aurora, by the fact that the prefect was giving a little dinner (pranzetto) in that part of the castle. We were not so greatly disappointed in reality as we made believe; but our servitore di piazza (the unlettered one) was almost moved to lesa maest
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