seems that many others (such is the force of talent) are wont immediately to follow in the same path, to the great honour of their country, as well as of themselves. The Ferrarese Lorenzo Costa, being by nature much disposed towards the art of painting, and hearing how greatly Fra Filippo, Benozzo Gozzoli, and others, were renowned and extolled in Tuscany, repaired to Florence[1] to see their works, and finding when he arrived, that their maimer pleased him greatly, he remained in that city many months, labouring to imitate them to the utmost of his power. Lorenzo devoted himself more particularly to drawing from nature, wherein he succeeded so happily, that, although his manner was a little hard and dry, yet, having returned to his native city, he there executed many very commendable works. An instance of this may be seen in the Choir of San Domenico, in Ferrara, which is wholly by his hand, a work wherein he has made clearly manifest the diligence wdth which he exercised his art,[2] and the study which he bestowed on his works. In the guardaroba of the Duke of Ferrara likewise, are works by this artist, portraits from the life namely, in numerous pictures,[3] very exact likenesses, and extremely well done.[4] There are also many works by his hand in the houses of various nobles, all of which are held in high esteem.
At Baverma, Lorenzo Costa painted the Altar-piece for the chapel of San Sebastian, in the church of San Domenico; this work was in oil, and in the same chapel he executed
- ↑ See Baruffildi, Notizie di Pittori Ferraresi, for many interesting details respecting this artist, whom he declares to have left his home secretly, thereby causing the death of his father, who expired of grief, and suffering the extremity of poverty in Florence, whence he was returning home, when, in passing through Bologne, he was received by Francesco Francia. See also Malvasia, Felsina Fitlrice, and Gualandi, Memorie di Belle Arti Italiane.
- ↑ These works are wholly destroyed.
- ↑ The latest Florentine commentators remark that Vasari sometimes uses the word “quadri,’’ to imply “pictures,” but also sometimes to signify compartments,” in fresco. Here it appears to the writer that the first signification is the one intended; immediately below we have an example of the word used, as the Florentines justly remark, in the second sense which they attribute to it.
- ↑ These pictures had disappeared even in Baruffaldi’s time. —Ed. Flor., 1832-8.
