Renaissance in Ferrara
The Ferrarese Renaissance began with the signoria of Leonello d'Este around the mid-15th century and produced some of the most original achievements within the early Italian Renaissance. It was contributed by the well-known school of Cosmè Tura, Francesco del Cossa and Ercole de' Roberti. A second school took off in the 16th century, with Dosso Dossi.
History
The court of the Este in Ferrara was one of the most vital in northern Italy since the late 14th century, when Niccolò d'Este funded the University of Ferrara and started the construction of the castello Estense[1]. His courtly features were prominent, as evidenced by his interests in the fable world of medieval heritage, evidenced by the numerous chivalric novels that enriched his famous library, in astrology and esotericism[2]. On the artistic level, Pisanello, who produced several medals for Lionello d'Este, was highly regarded, as was the illuminated production of both international in which Belbello da Pavia (author of the Bible of Niccolò d'Este']) stood out, as well as update to humanism, such as that of Taddeo Crivelli (Bible of Borso d'Este)[2]. The Este Renaissance court was composed of rich and ancient families of the Ferrarese nobility, such as the Giocoli[3][4][5] and the Roverella who contributed to the splendor with their patronage. With Leonello d'Este in power, the cultural horizons of the court expanded further, ranging among all the new ferments and contributing to the creation of an environment quite unique in the Italian panorama. Educated by the humanist Guarino Veronese, he was in contact with the leading artistic personalities of the time, among whom, in addition to the aforementioned Pisanello, were Leon Battista Alberti, Jacopo Bellini, Piero della Francesca (from around 1448) and the young Andrea Mantegna (in town between 1449 and 1451). He also started an antiquarian collection and a tapestry manufactory, which created close and continuous relations with Flanders. in Ferrara stayed some great transalpine masters, such as Rogier van der Weyden (c. 1450) and Jean Fouquet (c. 1447, leaving the Portrait of Jester Gonella'])[2] [2]. The works of these authors were admired in the Marquis collections by passing Italian artists. This allowed a contact point between the two great schools of painting.
Painting
It was during the era of Borso d'Este (in power from 1450 to 1471) that the multiple artistic ferments of the court were transformed into a distinctive style, especially in painting. The basic stimuli were the courtly culture, the perspective rationality and limpid light of Piero della Francesca, the optical attention to detail of the Flemish painters and donatellism, filtered through the squarcioneschi. To this, the Ferrara artists soon added their own peculiar interpretation characterized by linear tension, expressive exasperation, preciousness combined with strong expressiveness[2].
The Studiolo di Belfiore
The emergence of the School of Ferrara, with its peculiar language, is gathered in the surviving decorations of the Studiolo di Belfiore, commissioned by Lionello but finished at the time of Borso, already in the vanished Delizia di Belfiore. The decoration consisted of tarsie by the da Lendinara and a pictorial cycle of Muses on panel, which were dispersed or destroyed after the disappearance of the palace[6].
Among the most representative panels, Thalia by Michele Pannonio is stylistically linked to International Gothic, with a slender and elegantly screwed figure, underscored by slippery outlines that break, however, in the sharp knee-length drapery, while the exuberant spatiality of the seat and the whimsical decorative richness, in an antiquated taste, hark back to the Paduan Renaissance[6].
Polimnia, on the other hand, formerly attributed to Francesco del Cossa and now believed to be created by an anonymous Ferrara artist, shows instead an evident debt to the modes of Piero della Francesca, with a solemn and synthetic layout that stands out against a sharp open panorama.[6].
In the Calliope by Cosmè Tura, on the other hand, some stimuli are noticed which, recomposed in an original way, were the basis of the School of Ferrara: solid and perspective-conscious construction, with a lowered point of view, and an unbridled imagination in the description of the throne, with a free juxtaposition of elements also derived from the Paduan lesson of Francesco Squarcione, but highlighted by incident light to a surreal tension[6].
Cosmè Tura
The founder of the School of Ferrara is considered Cosmè Tura, who was later joined by Francesco del Cossa and Ercole de' Roberti. Despite individual differences, their works are united by a preference for precious and refined images[1], sharp profiles, and incisive chiaroscuro that renders each material as embossed metal or hard stone[6].
Tura's style can be read in all its originality and complexity in the Ferrara Cathedral Organ Case, painted in 1469. When open, it shows an annunciation. When closed, it shows Saint George and the Princess. In the'Annunciation the solemn background architecture, which cites the ancient, is reminiscent of Andrea Mantegna, as are the "stone-like" draperies or the presence in the landscape of layered rocky spurs. At the same time there are details of great naturalism and reminders of the courtly world, as in the bas-reliefs under the arches depicting the Planets, all fused and reworked with extraordinary flair. The side of Saint Georgeon the other hand is characterized by an unbridled dynamism, made even more expressive by the clear and sharp contours, the graphic highlights and the extreme expressionism that distorts the faces of men and animals[7]. The commission of the Roverella Polyptych was very important. It was painted by Cosmè Tura in 1470-1474 in Ferrara, with oil painting and egg tempera on a board of poplar.
Francesco del Cossa
Francesco del Cossa, slightly younger than Tura, started from a common basis with his colleague but arrived at different results because of the greater emphasis on the lesson of Piero della Francesca, with more composed and solemn figures. His participation in the Belfiore Studiolo is not certain, but he did participate in the other great essay in Ferrara painting, the Salone dei Mesi in Palazzo Schifanoia (1467-1470). Several painters worked on this complex cycle of frescoes, probably directed by Cosmè Tura, based on an iconographic program by Pellegrino Prisciano rich in astronomical, philosophical and literary references. Originally the decoration consisted of twelve sectors, one for each month, of which seven remain today. Each sector is divided in turn into three bands: a higher one where the triumph of the patron god of the month is painted surrounded by the "sons" engaged in typical activities, a central one with a blue background with the zodiac sign and three "decans," and a lower one with scenes revolving around the figure of Borso d'Este. By praising the Lord and his ideals the entire state was celebrated in its various functions, ranging from representation to government [7].
For example, Francesco del Cossa was responsible for the month of March, characterized by solid, synthetic forms, luminous color, and careful care in perspective construction, which goes so far as to order even the rocks in the background, with their imaginatively visionary shapes. To the almost crystallized forms of Cosmè Tura, Francesco contrasted a more natural human representation[7].
Ercole de' Roberti
The third protagonist of the School of Ferrara is Ercole de' Roberti, also active in the Salone dei Mesi. He is attributed the ninth month, September, where the forms undergo a geometric stylization (as in rocks) and the figures take on such dynamism, thanks to the taut and angular contours, that make everything become anti-naturalistic, but of great expressive violence[8].
The panels with the Stories of St. Vincent Ferrer (1473, Pinacoteca Vaticana) are also his. An evolution is noticeable in them: If the architecture appears more rationally organized, the broken contours of the figures, the forcefully embossed draperies and dreamlike landscapes, and the dreamlike landscapes remain. They, as a whole, befit the restlessness meandering in the period, which led at the end of the century to a crisis of Renaissance ideals[8].
A quite different point of arrival was finally the Pala Portuense (1479-1481), for the church of Santa Maria in Porto near Ravenna, where the expressionistic tensions are relegated to a few bas-reliefs on the base of the throne of the Virgin, while the general sentiment is tuned to a calm and balanced harmony, with symmetrical correspondences in the colors. However, the whole is also enlivened by the dizzying architecture of the throne, which leaves room for an open panorama at the base (where the mythical foundation of the church is alluded to) with small columns where the marble is rendered with extraordinary luministic sensitivity[8].
The 16th century
The generation of fifteenth-century masters came to an end in the 1590s, without a high-level artistic turnover: the fruits of the Ferrarese school had in fact been received mainly elsewhere, so at the opening of the new century the Este took under their protective wing artists of more varied training, updated to the novelties of the Roman Renaissance and Venetian Renaissance[9]. Local artists looked to Venice in particular, thanks to the alliances of the house of Este and their tastes. From Titian, a guest several times in the city, they drew an intelligent interpretation of his language in the key of imaginative narrative, typical of the cultured literary milieu of Ferrara.
The dominant figures of court painting in this period were Garofalo, Ludovico Mazzolino and, in particular, Dosso Dossi. The presence of literary greats such as Ludovico Ariosto fostered an atmosphere of fantastic evocation; this is especially noticeable in Alfonso II d'Este's extraordinary studiolo, the Alabaster Camerini which was destroyed in 1598. The decoration, directed by Dossi, included a series of extraordinary Bacchanali canvases by various artists including Giovanni Bellini and, especially, Titian[10]. Dosso himself took from Titian certain stylistic features such as chromatic richness and broad landscape openings, to which he added a fluid and vividly inventive style, especially in literary and mythological subjects. Some of his mythological motifs were still a source of inspiration for early Seventeenth century Emilian painters such as Annibale Carracci[9].
Another popular Ferrara painter was Lorenzo Costa, who became court painter in Mantua after the disappearance of Mantegna.
The second half of the century, with the disappearance of Dosso and the end of the great grand ducal commissions, maintained a certain vitality thanks to the presence of the Filippi family, in which Sebastiano, also known as the Bastianino, the author of a Last Judgment of clear Michelangeloesque ancestry in the apse of Ferrara Cathedral, stood out. Later, the local school benefited from Carlo Bononi, but with the annexation to the State of the Church and the transfer of the Este capital to Modena, Ferrara lost its role as a leading artistic center. The end of an era was sealed by the dismantling of the alabaster chambers (1598), whose decorations, taken to Rome, ended up being dispersed and are now in various museums[11].
Architecture and urban planning
Already in 1443 Leon Battista Alberti stayed in the city, asked by Lionello d'Este for the bell tower of the Duomo and for the arrangement of the base of the equestrian monument to Niccolò III but the great architect's presence did not have a major impact on the city's architecture, which remained dominated by the late 14th-century tradition with the use of decorated terracotta[12].
Due to defensive needs and the growing demand for housing, the Este's interventions in the city focused mainly on urban planning issues rather than the construction of individual buildings. Ferrara was essentially a medieval city, with a core of narrow, winding streets, devoid of squares and enclosed to the south by the Po di Volano and to the north by the Giovecca canal, with the only landmarks in the Duomo, the Este residence and, a little further north, the Castle of San Michele[12].
A first enlargement took place with Borso d'Este in the middle of the century, but it was mainly Ercole I who put in place an ambitious urban planning project, within the framework of the Renaissance experience of the "ideal city," which is remembered today as one of the first in Europe and earned the city recognition as a World Heritage by UNESCO. Hercules in fact commissioned the architect Biagio Rossetti to design a doubling of the city according to a new rational scheme, the so-called Herculean Addition[12].
First of all, the Giovecca ditch was buried, making it a wide street, the Corso della Giovecca, that would act as a hinge with the old part of the city: at the outlets of the medieval streets it made regular extensions, organically merging the old and the new. The new part, drawing on Roman town planning in Vitruvius's descriptions, had an orthogonal street network that was divided into two main axes: Via degli Angeli (today Corso Ercole I), which traced an earlier route connecting the castello and Belfiore, and Via dei Prioni, which ran from the Po Gate to the Sea Gate in an east-west direction. This particular axis, which was completely new and fully "public" in flavor (as opposed to the other axis that remained linked to the passage of the dukes), was particularly emphasized with a large tree-lined square, today's Piazza Ariostea[12].
To integrate the addition with the rest of the city and dilute the possible rigidity of the scheme, Rossetti left green areas to act as a "break" in the building fabric and, for the buildings he designed, continued to use traditional terracotta. Astonishing views at street outlets were also avoided, preferring foreshortened views of the architecture. The paradigmatic prerogatives of his design can be fully perceived at the point of intersection of the axes, the so-called "Quadrivio degli Angeli," which was not emphasized with a square, but only by the elegant decorations on the corners of the buildings, among which Rossetti's palazzo dei Diamanti stands out[12]. The building owes its name to its pointed ashlar cladding, which creates a striking chiaroscuro effect, with slabs decorated with candelabras at the corner on the crossroads, where a balcony is also set. The other buildings on the crossroads did not match its grandeur focusing rather on seeking effects of variation with large portals or corner pilasters[12].
The new Ferrarese urban situation was, in the Italian and European panorama of the time, the most modern and also the most enduring: there is no clear division between the city of the lords and the city of the subjects, nor is there a subservient relationship between the two (as was the case in Mantua or Pienza), but rather there is a harmonious integration between the parts, each with its own characterization. A complete development of the Addition would indeed be completed over time, although the lack of population growth and the subsequent fall of the dynasty halted the project. Nevertheless, precisely because of the modernity and organicity of the original design, the new city face has held up well to urban transformations to the present day[12].
Notes
- ^ a b Zuffi, 2004, cit., p. 186.
- ^ a b c d e De Vecchi-Cerchiari,. cit., p. 108.
- ^ Ferruccio Pasini-Frassoni, "Dissertazioni Storiche e Genealogiche" - "La stirpe dei Giocoli", in "Rivista Araldica del Collegio Araldico", Rome, Anno XIIIº, N. 4 (April 20, 1915), p. 531.
- ^ Michele Russo, Il Palazzo del Verginese Una Delizia Estense nascosta, Sapienza Università Editrice 2018 Rome p.19 note 2.
- ^ T. Dean, Land and Power in Ferrara in the Late Middle Ages, Dominazione Estense, Deputazione di Storia Patria ferrarese, Modena Ferrara 1990. p. 75.
- ^ a b c d e De Vecchi-Cerchiari,. cit., p. 109.
- ^ a b c De Vecchi-Cerchiari,. cit., p. 109.
- ^ a b c De Vecchi-Cerchiari, cit., p. 111.
- ^ a b De Vecchi-Cerchiari, cit, p. 234.
- ^ Zuffi, 2005, cit., p. 238.
- ^ Zuffi, 2007, cit., p. 248.
- ^ a b c d e f g De Vecchi-Cerchiari, cit. , p. 113.
Bibliography
- Pierluigi De Vecchi ed Elda Cerchiari, I tempi dell'arte, volume 2, Bompiani, Milano 1999. ISBN 88-451-7212-0
- Stefano Zuffi, Il Quattrocento, Electa, Milano 2004. ISBN 88-370-2315-4
- Stefano Zuffi, Il Cinquecento, Electa, Milano 2005. ISBN 88-370-3468-7
- Stefano Zuffi, Grande atlante del Rinascimento, Electa, Milano 2007. ISBN 978-88-370-4898-3
See also
- Arte del Rinascimento
- Architettura rinascimentale
- Scuola ferrarese
- Ferrara
- Città ideale
- Rinascimento emiliano
- Banchetto rinascimentale
