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Dutch school later. This new style forms the artistic that Garofalo's art consists in a clever handling of glory of the House of Este, which had also the honour pure abstractions

of pensioning Ariosto. Its spirit can be still recog- nized in the famous paintings (now in the Louvre) executed in 1505 for the Duchess Isabella by Man- tegna, Perugino, and Lorenzo Costa. It survives in the works of Dosso Dossi — in the charming Judith of the Modena gallery, and in the incomparable Circe of the Casino Borghese.

Garofalo's real vocation lay in such work. His pe- culiar talent consisted in feeUng and giving naive ex- pression to the joy of hfe, the charm of the world around him, the beauty of elegant and rural customs

Nevertheless, despite his many ambitious but insig- nificant (though never vulgar) works, the natural in- stinct of the Ferrarese school had not quite forsaken him. It asserted itself amid all his idealistic straining, and led him to create a style of "tableaux de pi^te", little pious scenes as helps to private devotion, to be set up in bed-rooms and oratories. We have here the Bible interpreted in a familiar mode, reduced to the proportions of a "genre" picture and making a popu- lar appeal. The vast number of these little paintings in the Borghese, Doria, and Capitol galleries at Rome is a

and all that is now called "idyllic ", but as it appeared sufficient indication of their vogue. This was the style

to Italian courtiers of the Renaissance period. His so successfully developed by Elsheimer and Rem-

youthful works — the Boar Hunt in the Palazzo Sci- brandt in the seventeenth century. But, even in this

arra, the Knight's Procession in the Palazzo Colonna new departure, the false ideal with which Garofalo was

at Rome — gave promise of a Latin Kuyp, less com- smitten at Rome contiriued to stifle his native genius.

monplace, more romantic, more artistic, and more refined than the Dutch artist. This was the result of his early study under Panetti and Costa, and of his companionship with liis fellow pupil Dossi. In 1495 he had lessons at Cremon:i from Baccaccino, who initial f! him into the secrets of Vein tian colouring. But a feu years later, when entering on early manhood, he fell unfor- tunately under an influence quite alien to his own genius. It was at Rome, where he spent three years (1509-1512), that he succumbed to the charm of the new idea. Ra- phael was painting the "Ca- mera" or hall of the Segnatura, and that of the Hehodorus; Michelangelo was decorating the ceiling of the Sistine Chapel. Garofalo was overcome by these masterpieces; he was unable to refrain from the con- templation of a higher beauty than that which he himself had expressed.

From this moment disap- pears the charming artist, the delicate painter of con- temporary life, into which Garofalo was developing. The majesty of the Roman works imposed on him an ideal beyond his power to realize. The Ferrarese Garofalo might have been a master — of the second class of creative artists, indeed, but

VlKQlN AND Chii

Benvenuto da Tisio, the

Ever more and more he con- demned himself to be but the pale reflection of Raphael. One can follow step by step the progress of his self-imposed decadence. The "Virgin in the Clouds with four Saints" (1518) in the Academy of Fine Arts at Venice is an excellent work; the "Pieta" (1.527) in the Brera Gallery at Milan re- veals an increasing frigidity of treatment. If one Madonna (15:52) in the Modena Gallery is ;i ( harniing picture, another of .li^ihtly later date no longer iiKTit.-i this eulogy. The large "Triumph of Religion" in the Ateneo at Ferrara is a purely "bookish" work, whose en- semble is null and whose stray pleasing episodes are hard to discover. Later even his sense of colour begins to fail; year by year it grows colder and finally deserts him. Hence- forth he can produce only such melancholy monochromes as the "Kiss of Judas" in the Church of San Francisco at Ferrara.

Such was the gradual pro- cess of distortion under a foreign influence of this charm- ing genius, adapted by na- ture to feel and proclaim the poetry and homely realities of life, but rendered sterile by an unnatural endeavour to give expression to an ideal which was not its own. In the pursuit of this ideal, we see Gafo-

of true originality; after his visit to Rome, he was falo lose his native qualities one by one, his exquisite but a "Raphael in miniature". It is not easy to sensitiveness as painter and colourist being the last to criticise harshly works which are always sincere and forsake him. From 1550 till his death Garofalo was whose greatest defect arises from the conscientious blind. His history is one of the most eloquent ex- pursuit of an ideal. All Garofalo's works bear traces amples of a mistaken vocation. With him the Fer- of this extreme conscientiousness of execution — a rarese school loses all its originality, and abdicates the quality that became ever rarer in the school of place it should ha\-e filled in the history of art. Venice

Raphael. As a moral force Garofalo has no equal in the group that surrounded the master; in this respect he is vastly superior to such a painter as Giulio Ro- mano. Even his least successful works retain, amid

soon occupies the vacancy; she is destined to trans- late to canvas those fornuiUv for "painting from life", which Ferrara had dinih' foreseen; Giorgione, Titian, Palma, Bonifazio are to reap the laurels which Garo-

their somewhat frigid and commonplace purity, that falo refused, and to deprive him of the honour of inau- transparency, glow, and harmony which are the marks of all Venetian colouring. But though the eye is charmed, all illusion as to the artistic quality of the work soon disappears. The figures have no life, the expression is uncertain, ideal heads betray a lack of intellect. The larger the figure the more emphatic are its defects. No ele- gance of design or skill in execution can hide the fact

gurating a style so fruitful in the subsequent history of painting.

Baropfaldi. Vile dei pittori Ferraresi (Ferrara. 1844); Crr- TADELL.I. NoHzie relative a Ferrara (Ferrara, 1864); Laderchi, Piltura Ferrarese (Ferrara, 1856): Documents iiiidits d'apris Campari in Crowe el Camlcaselle (German ed.), V, xxi; Lermo- LlEFF, Die Werke italienischer Meisler in den Galereien' von Miinchen, Drexden und Berlin (Leipzig, ■VSSO) ; Woermann and WoLTMANN, (leschichte der Malerei (Lr.p»:ig, 1SS2), XI; BeREN-