GAUDENZIO See also:

• GAUDENZIO FERRARI (1484-1549)
• FERRARI, GIUSEPPE (1812–1876)
• FERRARI, PAOLO (1822–1889)

FERRARI (1484-1549)  , See also:

• ITALIAN

Italian painter and sculptor, of the Milanese, or more strictly the Piedmontese, school, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Valduggia, See also:

• PIEDMONT (Ital. Piemonte; Low Lat. Pedemons and Pedemontium)

Piedmont, and is said (very dubiously) to have learned the elements of See also:

• PAINTING

painting at See also:

• VERCELLI (anc. Vercellae)

Vercelli from See also:

• GIROLAMO (1450-1486)

Girolamo Giovenone . He next studied in See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, in the school of Scotto, and some say of See also:

• LUINI, BERNARDINO (?1465-?154o)

Luini; towards 1504 he proceeded to See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, and afterwards (it used to be alleged) to See also:

• ROME
• ROME (Roma)

Rome . His pictorial See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style may be considered as derived mainly from the old Milanese school, with a considerable tinge of the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, and later on of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael; in his See also:

• PERSONAL

personal manner there was something of the See also:

• DEMONSTRATIVE

demonstrative and fantastic . The gentler qualities diminished, and the stronger intensified, as he progressed . By 1524 he was at Varallo in Piedmont, and here, in the See also:

• CHAPEL

chapel of the Sacro See also:

• MONTE

Monte, the See also:

• SANCTUARY (from the late Lat. sanctuarium, a sacred place)

sanctuary"of the Piedmontese pilgrims, he executed his most memorable See also:

• WORK

work . This is a See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of the Crucifixion, with a multitude of figures, no less than twenty-six of them being modelled in actual See also:

• RELIEF

relief, and coloured; on the vaulted See also:

• CEILING (from a verb " to ceil," i.e. to line or cover; of disputed etymology, but apparently connected with Fr. ciel, Lat. caelum, sky)

ceiling are eighteen lamenting angels, powerful in expression . Other leading examples are the following . In the Royal See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• TURIN

Turin, a " Pieta," an able See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early work . In the Brera Gallery, Milan, " St Katharine miraculously preserved from the See also:

• TORTURE (from Lat. torquere, to twist)

Torture of the See also:

• WHEEL (0. Eng. hweol, hweohl, &c., cognate with Icel. hjol, Dan. hiul, the Indo-European root is seen in Sanskrit chakra, Gr. r in Aos, circle, whence " cycle ")
• WHEEL, BREAKING ON THE

Wheel," a very characteristic example, hard and forcible in See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, thronged in See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, turbulent in emotion; also several frescoes, chiefly from the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of See also:

• SANTA

Santa Maria della See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

Pace, three of them being from the See also:

• HISTORY

history of See also:

• JOACHIM, JOSEPH (1831—1907)

Joachim and See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

Anna . In the See also:

• CATHEDRAL

cathedral of Vercelli, the See also:

• CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir, the " Virgin with Angels and See also:

• SAINTS, BATTLE OF THE

Saints under an See also:

• ORANGE
• ORANGE (Citrus Aurantium)
• ORANGE, HOUSE OF

Orange See also:

• TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
• TREE, SIR HERBERT BEERBOHM (1853- )

Tree." In the See also:

• REFECTORY (med. Lat. refectorium, from reficere, to refresh)

refectory of See also:

• SAN

San See also:

• PAOLO (GIROLAMO GASPARE)5 (1532-1600)

Paolo, the " Last Supper." In the church of San Cristoforo, the See also:

• TRANSEPT (from Lat. trans, across, and septum, enclosure; synonymous terms in other languages are Fr. croisee, nef transversee; Ital. crociata; Ger. Querbau, Quersch&)

transept (in 1532-1535), a See also:

• SERIES (a Latin word from serere, to join)

series of paintings in which See also:

• FERRARI, GAUDENZIO (1484-1549)
• FERRARI, GIUSEPPE (1812–1876)
• FERRARI, PAOLO (1822–1889)

Ferrari's See also:

• SCHOLAR, SCHOLARSHIP

scholar Lanini assisted him; by Ferrari himself are the " See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

Birth of the Virgin," the " See also:

• ANNUNCIATION

Annunciation," the " Visitation," the " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Shepherds and See also:

• KINGS, FIRST AND SECOND BOOKS OF

Kings," the " Crucifixion," the " See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin," all full of See also:

• LIFE

life and decided See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, though somewhat mannered, In tie Louvre, " St See also:

• PAUL
• PAUL (PAULUS)

Paul Meditating." In Varallo, See also:

• CONVENT (Lat. conventus, from convenire, to come together)

convent of the Minorites (1507), a " Presentation in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple," and " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ .among the Doctors," and (after 1510) the " History of Christ," in twenty-one subjects; also an See also:

• ANCONA
• ANCONA, ALESSANDRO (1835– )

ancona in six compartments, named the " Ancona di San Gaudenzio." In Santa Maria di See also:

• LORETO

Loreto, near Varallo (after 1527), an " Adoration." In the church of See also:

• SARONNO

Saronno, near Milan, the See also:

• CUPOLA (Ital., from Lat. cupula, small cask or vault, cupa, tub)

cupola (1535), a " See also:

• GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

Glory of Angels," in which the beauty of the school of Da Vinci alternates with bravura of foreshortenings in the mode of See also:

• CORREGGIO
• CORREGGIO, or COREGGIO

Correggio . In Milan, Santa Maria delle Grazie (1542) , the " Scourging of Christ," an " Ecce Homo " and a " Crucifixion." The " Scourging," or else a " Last Supper," in the Passione of Milan (unfinished), is regarded as Ferrari's latest work . He was a very prolific painter, distinguished by strong expression, animation and fulness of composition, and abundant invention; he was skilful in painting horses, and his decisive rather hard colour is marked by a partiality for shot tints in drapery .

In See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general character, his work appertains more to the 15th than the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . His subjects were always of the sacred See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order . Ferrari's See also:

• DEATH

death took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in Milan . Besides Lanini, already mentioned, See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea See also:

• SOLARIO, ANTONIO (c. 1382-1455)

Solario, Giambattista della Cerva and See also:

• FERMO (anc. 1%irmum Picenum)

Fermo Stella were three of his See also:

• PRINCIPAL

principal scholars . He is represented to us as a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man, attached to his See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country and his See also:

• ART

art, jovial and sometimes facetious, but an enemy of See also:

• SCANDAL

scandal . The reputation which he enjoyed soon after his death was very See also:

• GREAT

great, but it has not fully stood the test of See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time . Lomazzo went so far as to place him seventh among the seven See also:

• PRIME, PRIMER AND PRIMING

prime painters of See also:

• ITALY
• ITALY (Italia)

Italy . See G . Bordiga, two See also:

• WORKS

works concerning Gaudenzio Ferrari (1821 and 1835); G . See also:

• COLOMBO

Colombo, Vita ed opere di Gaudenzio Ferrari (1881); Ethel Halsey, Gaudenzio Ferrari (in the series Great Masters, 1904) . There was another painter nearly contemporary with Gaudenzio, Difendente Ferrari, also of the Lombard school . His celebrity is by no means equal to that of Gaudenzio; but Kugler (1887, as edited by See also:

• LAYARD, SIR AUSTEN HENRY (1817-1894)

Layard) pronounced him to be " a good and See also:

• ORIGINAL

original colourist, and the best artist that Piedmont has produced." (W .

M .