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Updated: May 22, 2025
In the Doria Gallery there is a life-sized figure of an Amazon with a helmet in her hand, ascribed to Dosso Dossi, which is said to be a likeness of Vannozza.
Toward noon Italian infantry made several raids on various points along the front, which led to considerable progress in the Plava area, on the slopes of Monte Cucco, and on the hills east of Goritz and Vertoibizza. At the same time other Italian troops made a thrust in the northern sector of the Carso and reached the wrecked Austrian lines east of Dosso Faiti, capturing prisoners.
The other picture is in the Dresden Gallery, and one of the finest productions of that extraordinary Ferrarese painter Dosso Dossi. In the lower part of the picture are the four Latin Fathers, turning over their great books, or in deep meditation; behind them, the Franciscan Bernardino of Siena.
Meanwhile, Tiziano Vecelli went to Ferrara to execute certain things for Duke Alfonso, as will be related in his Life, in a little closet, or rather, study, where Giovanni Bellini had already painted some pictures, and Dosso a Bacchanal rout of men which was so good, that, even if he had never done any other thing, for that alone he would deserve praise and the name of an excellent painter; and Girolamo, by means of Tiziano and others, began to have dealings with the Court of the Duke.
His best quality was colouring, gemlike and rich; but this found little scope for exercise in the dry and laboured style he affected. Dosso Dossi fared better, perhaps through having never experienced the seductions of Rome. His glowing colour and quaint fancy give the attraction of romance to many of his pictures.
He holds a lamb in his arms, and carries the legend, Sic Genius. Behind him is a landscape of exquisite brilliancy and depth. His face is young and handsome. Dosso has made it one most wonderful laugh. Even so perhaps laughed Yorick.
Cima is well represented by 1259, Virgin and Child, with the Baptist and the Magdalen. 1351, A Holy Family, by Lotto, was formerly assigned to Dosso Dossi. 1350 is an early and charming little work, St. Jerome, by the same master.
So, too, the Palace of the Duke of Mantua, where Andrea painted the Triumph of Caius Cæsar, is noble; but more so still is the work of the Stable, painted by Julius, a pupil of Raphael, who now flourishes in Mantua. In Ferrara we have the painting of Dosso in the Palace of Castello, and in Padua they also praise the loggia of M. Luis, and the Fortress of Lenhago.
I can scarcely judge whether the pleasure which I owe to the crowding together, the moving about in my fancy, of the heroes and wizards and hippogriffs of the old tales of Oberon and Ogier; the association with the knights and ladies of Boiardo and Ariosto, of this or that figure out of a fresco of Pinturicchio, or a picture by Dosso, has made it easier or more difficult for me to sum up the history of mediæval romance in Renaissance Italy; nor whether the recollection of certain Tuscan farms, the well-known scent of the sun-dried fennel and mint under the vine-trellis, the droning song of the contadino ploughing or pruning unseen in the valley, the snatches of peasants' rhymes, the outlines of peasants' faces things all these of this our own time, of yesterday or to-day; whether all this, running in my mind like so many scribbly illustrations and annotations along the margin of Lorenzo dei Medici's poems, has made my studies of rustic poetry more clear or more confused.
The mystic sympathies of "Leda and the Swan," as imaged severally by Lionardo and Michael Angelo; Correggio's romantic handling of the myths of "Danaë" and "Io;" Titian's and Tintoretto's rival pictures of "Bacchus and Ariadne;" Raphael's "Galatea;" Pollajuolo's "Hercules;" the "Europa" of Veronese; the "Circe" of Dosso Dossi; Palma's "Venus;" Sodoma's "Marriage of Alexander" all these, to mention none but pictures familiar to every traveller in Italy, raise for the student of the classical Revival absorbing questions relative to the influences of pagan myths upon the modern imagination.
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