remained in Naples.[1] Giovanni da Nola died at the age of seventy, and was buried at Naples, in the.year 1558.
Now^, about the same time that Heaven presented to Ferrara, or rather to the world, the divine poet, Ludovico Ariosto, the painter Dosso[2] was born, in the same city of Ferrara; and although the latter cannot be accounted so great among painters as was Ariosto among poets, he did nevertheless acquit himself in his vocation to such purpose, that not only has Ferrara ever held his works in the highest estimation, but himself also was adjudged to merit a most honourable mention in the renowned writings of the great poet above-named, who was indeed his tried and trusted friend. The name of Dosso has thus obtained greater fame from the pen of Messer Ludovico, than from all the pencils and colours consumed by himself in the whole course of his life.[3] Wherefore, I, for my part, confess that the good fortune of those who are thus celebrated by great men is, in my opinion, much to be extolled, since the force of the pen compels many to concur in a degree of praise, which all those who receive it may not entirely deserve.
Dosso was highly favoured by the Duke Alphonso of Ferrara; first, because of his abilities in art, and next on account of his excellent qualities as a man, and the pleasantness of his manners, which were advantages always highly acceptable to the Duke Alphonso. In Lombardy Dosso obtained the reputation of painting landscapes better than any other artist, whether in fresco, in oil, or in water-colours; and this opinion of the master was held even more firmly after the German manner in that branch of art had become known. In the cathedral church of Ferrara, Dosso Dossi painted a picture in oil with figures, which were considered sufficiently
- ↑ Still to be seen in the church of San Giacomo.— Ed. Flor. 1832-8.
- ↑ Scannelli affirms Dosso Dossi, and his brother Battista, to have been disciples of Lorenzo Costa. Förster informs us, that the former studied in Rome during six years and in Venice five, and remarks that his efforts to attain the manner of the Venetian school are clearly apparent in his works.
- ↑ Ariosto has merely named Dosso Dossi in the second stanza of his thirty-third canto, but he has placed him in the company of Andrea Mantegna, Leonardo da Vinci, Giovanni Bellini, Michael Angelo, Raphael, Tizian, and Fra Sebastiano del Piombo; which explains the enthusiastic manner in which Vasari has made mention of the fact, and which his compatriots call exaggeration.
