The History of Painting in Italy, Vol. 5 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth CenturyLanzi, Luigi
History
The History of Painting in Italy, Vol. 5 (of 6): From the Period of the Revival of the Fine Arts to the End of the Eighteenth Century
Lanzi, Luigi
Painting -- Italy -- History
The Ferrarese School took its twin origin, so to say, with that of Venice,
if we may credit a monumental testimony, cited by Dr. Ferrante Borsetti, in
his work called "Historia almi Ferrariensis Gymnasii," published in 1735.
This memorial was extracted from an ancient codex of Virgil, written in
1193; which, according to Baruffaldi, passed from the library of the
Carmelites at Ferrara, into the possession of the Counts Alvarotti at
Padua, whose books, in course of time, were added to the library of the
Paduan seminary. At the end of this codex is read the name of Gio.
Alighieri, the miniaturist of this volume; and in the last page there had
afterwards been added, in the ancient vulgar tongue, the following
memorial:--that in 1242, Azzo d'Este, first lord of Ferrara, committed to
one Gelasio di Niccolo, a painting of the Fall of Phaeton; and from him too
Filippo, bishop of Ferrara, ordered an image of our Lady, and an ensign of
St. George, which was used in going to meet Tiepolo, when he was despatched
by the Venetian republic as ambassador to Ferrara. Gelasio is there stated
to belong to the district of St. George, and to have been pupil in Venice
to Teofane of Constantinople, which induced Zanetti to place this Greek at
the head of the masters of his school. On the authority of so many learned
men, to whom such memorial appeared genuine, I am led to give it credit;
although it contains some marks that, at first sight, appear suspicious. I
have further made inquiries after it in the Paduan seminary, but it is not
to be found there.
Public-domain text, read in full here on John Shaqi.
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