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The oval of the face recalls the "Knight of Malta," the high cranium and treatment of the hair such as we find in the Dresden "Venus" and elsewhere. The delicacy of modelling, the beauty of the features are far beyond Dosso's powers, who, brilliant artist as he sometimes was, was of much coarser fibre than the painter of these figures.
The difference of calibre between the two is well illustrated by comparing Giorgione's "Satyr" with Dosso's frankly vulgar "Buffone" in the Modena Gallery, or with those uncouth productions, also in the Pitti, the "S. John Baptist" and the "Bambocciate."
A bright, brilliant court at the close of the fifteenth century; and more stable than the only one which might have rivalled it, the Feltrian court of Urbino, too small and lost among the Umbrian bandits. John of Benvenuto Garofalo; jesters like Dosso's at Modena; brilliant captains like his St. George and St.
It broadened, showing brilliant teeth, and grew into a noiseless laugh; and then I saw before me Dosso's jester, the type of Shakespeare's fools, the life of that wild irony, now rude, now fine, which once delighted courts. The laughter of the whole world and of all the centuries was silent in his face. What he said need not be repeated.
I broadened, showing brilliant teeth, and grew into a noiseless laugh; and then I saw before me Dosso's jester, the type of Shakspere's fools, the life of that wild irony, now rude, now fine, which once delighted Courts. The laughter of the whole world and of all the centuries was silent in his face. What he said need not be repeated.
The foremost artist of the Ferrara works was chosen from that city, Battista Dosso, but also active as designer was the Fleming, Lucas Cornelisz. In Dosso's work is seen that exquisite and dainty touch that characterises the artists of Northern Italy in their most perfect period, before voluptuous masses and heavy scroll-like curves prevailed even in the drawing of the human figure.
It is a masquerade, and one whose men and women must, I think, be imagined in a kind of artistic fancy costume: a mixture of the Renaissance dress and of the antique, as we see it in the prints of contemporary pageants, and in Venetian and Ferrarese pictures; that Circe of Dosso's, in the Borghese gallery of Rome, seated in her stately wine-lees and gold half-heraldically and half-cabalistically patterned brocade, before the rose-bushes of the little mysterious wood, is the very ideal of the Falerinas and Alcinas, of the enchantresses of Boiardo and Ariosto.
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