Francesco Cossa paintings. Surrealism from ancient times

Meaning of COSSA, FRANCESCO DEL in Collier's Dictionary

COSSA, FRANCESCO DEL

(Cossa, Francesco del) (1436-1478), Italian painter of the early Renaissance, representative of the Ferrara school. The paintings he completed at the Palazzo Schifanoia in Ferrara represent one of the most significant fresco cycles of secular content created during the Renaissance. Cossa was born in Ferrara in 1436. He probably studied with Cosimo Tura; influenced by Andrea Mantegna and Piero della Francesca. After completing work on the frescoes in the Palazzo Schifanoia in 1470, which he completed by order of Duke Borso d'Este, Francesco del Cossa moved from Ferrara to Bologna. The main work created by the artist in Bologna was the altar for the Griffoni Chapel in the Church of San Petronio (in currently scattered) Cossa died in Bologna in 1478.

The frescoes in the Hall of the Months in Palazzo Schifanoia are dedicated to the 12 months of the year. They are divided into three tiers. The upper register contains a cycle of festive allegorical scenes, the lower register represents several paintings from the life of the court of the Dukes of Este. Between them runs a wide ribbon with images of astrological symbols.

Collier. Collier's Dictionary. 2012

See also interpretations, synonyms, meanings of the word and what COSSA, FRANCESCO DEL is in Russian in dictionaries, encyclopedias and reference books:

• COSSA FRANCESCO DEL
  (Cossa) Francesco del (c. 1436, Ferrara, - c. 1478, Bologna), Italian painter Early Renaissance. Representative of the Ferrara school. Studied, …
• KOSSA in the Literary Encyclopedia:
  Pietro - Italian writer. He studied at the Jesuit college, from where he was expelled for heresy and sympathy for the national liberation movement...
• KOSSA
  (Cossa) Francesco del (c. 1436 - c. 1478) Italian painter. Representative of the Ferrara school of the Early Renaissance. Combined clear plasticity of form with...
• FRANCESCO
  FRANCESCO SFORZA (1401-66), Duke of Milan from 1450. Before that, condottiere in the service of Milan, Florence, Venice. Taken possession of...
• FRANCESCO in the Big Russian Encyclopedic Dictionary:
  FRANCESCO DA MILANO (Francesco da Milano) (1497?-1543?), Italian. lutenist, composer. He was nicknamed "divine". Numerous works for lute - intrades, preludes, ...
• KOSSA in the Big Russian Encyclopedic Dictionary:
  NOSSA (Cossa) Francesco del (c. 1436 - c. 1478), Italian. painter. Rep. Ferrara school of the Early Renaissance. Combined clear plastic forms...
• DEL in the Big Russian Encyclopedic Dictionary:
  MONACO (Del Monaco) Mario (1915-1982), Italian. singer (drama tenor). Since 1941 he sang on opera scenes Italy (since 1943 in ...
• KOSSA in Modern explanatory dictionary, TSB:
  (Cossa) Francesco del (c. 1436 - c. 1478), Italian painter. Representative of the Ferrara school of the Early Renaissance. Combined clear plasticity of form with...
• POPES in the Orthodox Encyclopedia Tree:
  Open Orthodox encyclopedia "TREE". List of Roman bishops The opinion that the founder of the Roman see, who occupied it from 42 to 67, ...
• FERRUCCI FRANCESCO in big Soviet encyclopedia, TSB:
  (Ferrucci) Francesco (14.8.1489, Florence, v 3.8.1530, Gavinana), Florentine military commander and statesman. Podestà in Tuscany Larchino (1519), Campi (1523), ...
• CAVALLI FRANCESCO in the Great Soviet Encyclopedia, TSB:
  (Cavalli; real name- Caletti, Caletti) Francesco (Pier or Pietro Francesco) (14.2.1602, Crema, - 14.1.1676, Venice), Italian composer. Son and...
• ITALY
• DONI ANTON FRANCESCO in the Great Soviet Encyclopedia, TSB:
  (Doni) Anton Francesco (16.5.1513, Florence - September 1574, Monselice), Italian writer, one of the early utopian socialists, predecessor of T. Campanella. From …
• GUARDI FRANCESCO in the Great Soviet Encyclopedia, TSB:
  Guardi Francesco (baptized 10/5/1712, Venice, - 1/1/1793, ibid.), Italian landscape painter of the Venetian school. Studied with his brother Giovanni...
• FERRARA, CITY
• COSSA PIETRO
  (Cossa, 1834-1881) - Italian. playwright. An adherent of the unification of Italy, he was forced to retire to South America for a while. His first tragedy: ...
• COSSA LUIGI in the Encyclopedic Dictionary of Brockhaus and Euphron:
  I (Cossa) - famous Italian. political economist, b. in 1831, professor in Pavia, founder of the entire Italian school of political economists. In methodological...
• CARRARA, FRANCESCO in the Encyclopedic Dictionary of Brockhaus and Euphron:
  (Carrara, 1805-88) - Italian criminologist, lawyer, professor of criminal law at the University of Pisa, member of the Chamber of Deputies, then senator. Enjoying great authority...
• COSSA LUIGI in the Brockhaus and Efron Encyclopedia:
  (Cossa) ? famous Italian political economist, b. in 1831, professor in Pavia, founder of the entire Italian school of political economists. On methodological issues...
• SARTO, ANDREA DEL in Collier's Dictionary:
  (Sarto, Andrea del) (1486-1531), Italian artist of the Florentine school, was born in Florence on July 16, 1486. ​​Among the artist’s first works are five ...
• PETRARCA, FRANCESCO in Collier's Dictionary:
  (Petrarca, Francesco) (1304-1374) Italian poet, a recognized literary arbiter of his time and a forerunner of the European humanist movement. Born July 20, 1304 in ...
• COMEDY DEL ARTE in Collier's Dictionary:
  (commedia dell arte), Italian improvisational comedy, with permanent characters who moved from performance to performance; was popular in Italy in 1560-1760. IN …
• FERRARA SCHOOL in the Glossary of Terms visual arts:
  - painting school of Renaissance Italy. The center of the Ferrara school, which developed under the influence of A. Mantegna, Piero della Francesca, and partly Netherlandish painting...
• PAPACY
• THE GREAT SCHIPT in the Orthodox Encyclopedia Tree.
• ORPHEUS
  IN Greek mythology son of the Thracian river god Eagre (option: Apollo, Clem. Rom. Hom. V 15) and the muse Calliope (Apollod. I ...
• VLADISLAV in the Directory of Characters and Cult Objects of Greek Mythology:
  
• VLADISLAV in biographies of Monarchs:
  King of Naples from the Angevin dynasty, who reigned from 1386 to 1414. Son of Charles III and Margaret of Durazio. F,: 1) from 1392 ...
• CENCHI in the Literary Encyclopedia:
  (English Cenci, French Cenci) 1. characters from P. Shelley’s tragedy “Cenci” (1819-1820). Borgia, Visconti, Medici, Sforza, Cenci, the richest and most noble Italian families, ...
• SPANISH-AMERICAN LITERATURE. in the Literary Encyclopedia.
• ALFIERI in the Literary Encyclopedia:
  Vittorio, Count di Cortemiglia - the greatest Italian tragic writer. R. in the city of Asti, in ...
• FERRARA SCHOOL in the Big Encyclopedic Dictionary:
  Italian school of Renaissance painting with its center in Ferrara. Masters 2nd floor. 15th century (C. Tura, F. del Cossa, ...
• FERRARA SCHOOL in the Great Soviet Encyclopedia, TSB:
  school, Italian school of Renaissance painting. The center of the French school, which developed under the influence of the art of A. Mantegna, Piero della Francesca ...
• URUGUAY (STATE) in the Great Soviet Encyclopedia, TSB:
  (Uruguay), Eastern Republic of Uruguay (Republica Oriental del Uruguay). I. General information U. v state in the south-east. South America, in a low...
• SFORZA in the Great Soviet Encyclopedia, TSB:
  (Sforza), dynasty of the Dukes of Milan in the 15th and 16th centuries. The ancestor is Muzio Attendolo S. (1369-1424), a peasant from Romagna, nicknamed Sforza for his ...
• ROME IS THE CAPITAL OF ITALY) in the Great Soviet Encyclopedia, TSB.
• PIERO DELLA FRANCESCA in the Great Soviet Encyclopedia, TSB:
  della Francesca (Piero della Francesca) (b. about 1420, San Sepolcro, Tuscany, - buried 10/12/1492, in the same place), Italian painter. In 1439 he worked...
• MEXICO in the Great Soviet Encyclopedia, TSB.
• CUBA (STATE) in the Great Soviet Encyclopedia, TSB:
  (Cuba), Republic of Cuba (Republica de Cuba). I. General information The Republic of Cuba is located on the islands of Cuba (104 thousand km 2), Pinos ...
• COLUMBIA (STATE IN SOUTH AMERICA) in the Great Soviet Encyclopedia, TSB:
  (Colombia), Republic of Colombia (Republica de Colombia). I. General information K. is a state in the north-west of South America. It borders on the east with...
• SPAIN in the Great Soviet Encyclopedia, TSB:
  (Espana); official name is the Spanish State (Estado Espanol). I. General information I. is a state in the extreme southwest. Europe. Takes 5/6...
• REVIVAL (RENAISSANCE) in the Great Soviet Encyclopedia, TSB:
  Renaissance (French: Renaissance, Italian: Rinascimento), in the cultural history of Western and Central Europe era transition from medieval culture to culture...
• HOUSEHOLD GENRE in the Great Soviet Encyclopedia, TSB:
  genre, one of the genres of fine art, dedicated to everyday private and public life(usually contemporary artist). Leading role in B. ...
• BRERA in the Great Soviet Encyclopedia, TSB:
  (Brera), Pinacoteca Brera in Milan, one of the largest art galleries in Italy. Founded in 1809. Includes an extensive collection Italian painting 14-19 …
• ARGENTINA (COUNTRY) in the Great Soviet Encyclopedia, TSB:
  (Argentina), Argentine Republic (Republica Argentina). I. General information A. is the second (after Brazil) state in terms of territory and population of the South. ...
• ETNA in the Encyclopedic Dictionary of Brockhaus and Euphron:
  (Aetna, Italian: Etna and Mongibello) - the highest volcano in Europe, rises terrace-like in the form of an isolated cone on the plain of Catania ...
• ESTE, PRINCE FAMILY in the Encyclopedic Dictionary of Brockhaus and Euphron.
• FRANCE in the Encyclopedic Dictionary of Brockhaus and Euphron:
  (Francesco Francia), actually F. di Marco Raibolini - Italian goldsmith, medalist and painter, born. in Bologna, in 1450; ...

Francesco del Cossa. Italian artist Quattrocento, worked for many years in Ferrara, then in Bologna, forgotten for centuries and rediscovered in the 19th century.
Vasari did not know del Cossa very well and confused him with a student named Costa. Pavel Muratov wrote best about Francesco del Cossa in “Images of Italy”:
Thirty-year-old Cossa absorbed all the energy of Mantegna and Piero della Francesca, and at the same time he did not inherit from them the “curse” of their genius - the burden of life was light for him, and the purpose of an artist was simple for him. His lines lay broadly, cheerfully and flexibly, without the inhuman firmness and precision of Mantegna. The mystically shining air of Piero della Francesca was understood by him only as the bright, joyful air of the countryside. Cossa’s great advantage must be considered his amazing sense of groupings. In the immediate and fresh charm of groups, he surpasses even his great teachers. Only an artist who stood very close to life and deeply loved it could write like this. The life of the Quattrocento will always be depicted to us in the image of the chivalric groups created by Cossa. Moreover, Cossa was an excellent portrait painter, and there are many excellent heads in the Ferrara frescoes.

Here are some of his works

They sent me an interesting image.
At first I even thought it was photoshop.
But! This image turned out to be part real picture, and even from the old, old times.
Let's unwind the plot.))
Here is the original object, which is a detail of the work of Francesco del Cossa.

Francesco del Cossa - St. Lucia (c. 1472). Detail

And now we go backwards and forwards - we unwind the scroll and get a whole from the part.
Who is shown in the picture? Why do eyes hang on a branch? What is the meaning of this picture?
The answer is: Saint Lucia is depicted - Lucia of Syracuse.
I admit, I didn’t know about such a saint, although it turned out that she is revered in many countries and even a holiday is held in her honor.
What is the point of the picture?
It seems that the eyes are looking at you and as if they are waiting for something.
It turns out that Saint Lucia calls us to look again carefully and see the true path.
In my opinion, this is a very urgent task for our abnormal modernity. ((

Who is Saint Lucia?
Saint Lucia (Lucia, Lucia, Lucia, Santa Lucia) of Syracuse (~283~303) - early Christian martyr.
The name comes from the Latin ‘lux’ - ‘light’. She was the daughter of a wealthy Roman citizen from Syracuse, Sicily. Lived at the turn of the 3rd and 4th centuries. AD, during the era of the last (Diocletian) persecution of Christians. Her father died early, and her mother, whose name was Eutychea, wanted to marry her daughter off.
In those days there were no monasteries yet, but many pious Christians had already taken a vow of celibacy. That's what Lucia did. The mother was at first against it, but, suffering from bleeding, she was cured of it in Catania, at the grave of St. Agatha († 5/II-251), whose life is in many ways reminiscent of the life of St. Lucia, and then agreed with her daughter’s decision. Lucia's rejected fiancé initiated persecution against her.
Judge Paschasius of Syracuse wanted to send her to a brothel to be raped to death, but neither an oxcart nor a thousand men could move Lucia. After this, Lucia was tortured.
They lit a fire around her and poured boiling oil on her, but the flames receded.
After various tortures and miracles, she was killed by a blow of a sword.
But other legends also say that her eyes were torn out.
The remains of St. Lucia was buried in the catacombs of Syracuse, which now bear her name.
On icons, Saint Lucia is usually depicted with a sword in her hands and a palm branch (symbols of martyrdom), a book and an oil lamp, sometimes also with two eyes on a tray.
There are even temples dedicated to St. Lucia - cathedrals in Colombo and Sri Lanka.

Saint Lucia died in 304.
But even after death, her suffering did not stop. For some reason, her relics were taken from place to place until they found peace.
The body of Saint Lucia rests in Venice, but her fame goes throughout the world.
Even in liberal Sweden, the holiday of Santa Lucia on December 13 is among the most anticipated during the Christmas period.
This day marks the feast day of Saint Lucia of Syracuse.
Originally, on this day, people wore white clothes, baked traditional pastries, lussekatt, and sang songs.
This holiday has been celebrated in Sweden since the end of the 19th century.
And today, girls wear white clothes on this day and decorate their heads with a crown of seven candles.

And finally, here is the picture itself:
Francesco del Cossa - St. Lucia (c. 1472)

The relics of Saint Lucia are one of the most popular targets for theft in Venice.
There have been attempts to steal them many times: in 1867, 1949, 1969 and in the 1981s.

There is also this version of the image of Saint Lucia.
In her hand the girl holds a bowl with her own eyes, which she is going to send to the unlucky groom.
And yet I conclude that her eyes were gouged out.
Otherwise, why do all the artists of that time depict her in this particular form? I believe them more than all kinds of interpreters of all times and peoples.
Although fiction and no one has yet canceled the allegory.))

Santa Lucia. Domenico di Giacomo di Pace Beccafumi (1486-1551)

And now some more works by Francesco del Cossa.
I really enjoyed looking at the details - it felt like a kaleidoscope.
Returned to childhood.))

Triumph of Apollo. Francesco del Cossa, 1476-84 Ferrara, Palazzo Schifanoia

Allegory of March - Triumph of Minerva. Francesco del Cossa, 1476-84 Ferrara, Palazzo Schifanoia

Francesco del Cossa. March. 1470s. Fresco. Palazzo Schifanoia, Ferrara. Italy.

Francesco del Cossa. Triumph of Minerva. Detail from March from the Cycle of the Months. 1470s. Fresco. Palazzo Schifanoia, Ferrara. Italy.

Allegory of April - Triumph of Venus. Francesco del Cossa, 1476-84 Ferrara, Palazzo Schifanoia

Francesco del Cossa. "April" from the Cycle of the Months. c.1470. Fresco. Palazzo Schifanoia, Ferrara. Italy.

Francesco del Cossa. "April". 1470s. Fresco. Palazzo Schifanoia, Ferrara. Italy.

Francesco del Cossa. Triumph of Venus. Detail from April from the Cycle of the Months. 1470s. Fresco. Palazzo Schifanoia, Ferrara. Italy.

Francesco del Cossa. Foot Race. 1470s. Fresco. Palazzo Schifanoia, Ferrara. Italy.

Francesco del Cossa. Horse Race. 1470s. Fresco. Palazzo Schifanoia, Ferrara. Italy.

Francesco del Cossa. Annunciation. Tempera on poplar panel. 27.5 x 44 cm. Alte Meister Gallerie, Dresden, Germany.

Francesco del Cossa. St. Peter. Side panel of the Grifoni Polyptych. c.1473. Wood panel. Galleria Brera, Milan, Italy.

And this saint has a very interesting look!
He either suspects something, or is plotting.))

Francesco del Cossa. St. John the Baptist. Side panel of the Grifoni Polyptych. c.1473. Wood panel. Galleria Brera, Milan, Italy.

Francesco del Cossa, 1436-1478 · Italian painter. Master of the Ferrara school. He worked in Ferrara and Bologna (from 1472).
One of the leading masters of the Ferrara school, Francesco del Cossa inherited from his older contemporary Cosimo Tura such features characteristic of the style of this school as the sharp, sometimes bordering on grotesque character of the images, the tension of the rhythm, the rigidity of the modeling of forms, the enamel jewel of color. At the same time, a more noticeable impact on creative formation Cossy was rendered by Mantegna with his classical intonations and rich arsenal of artistic means.
Familiarity with the works of Piero della Francesca was also of great importance for the artist, as evidenced by the subtlety of the transmission of light and the exquisite cold tonality of Cossa’s works, and his interest in conveying complex spatial structures.
Most significant work Ferrara period of Cossa are fresco compositions “March”, “April”, “May”, included in the cycle “Twelve Months” executed by a group of Ferrara artists (c. 1469-1470, Ferrara, Palazzo Schifanoia). The program of paintings, in which each month is assigned three registers located on top of each other, is built on humanistic and medieval astrological ideas and includes images of symbols of the months and their decades (middle register), triumphs of ancient deities and scenes of human activities (upper register) and episodes of court life Duke of Borso d'Este (lower case). The complexity of this concept corresponds to the figurative structure and pictorial language of Cossa’s paintings with their exaggerated sharpness, decorativeness, and secular sophistication.
Particularly impressive are the allegorical figures personifying the decades of months, endowed with an alarming, almost pathetic vitality.

The Bolognese period of Cossa's work is represented by the "Griffoni Altarpiece" (c. 1473; main wing, "St. Francesco Ferrer", London, National Gallery; side wings: "John the Baptist" and "Apostle Peter", Milan, Brera Gallery) and the altar composition "Annunciation" (c. 1475-1476, Dresden, Art Gallery). They are the pinnacle of his pictorial mastery, combining the sculptural clarity of sculpting forms, as if sculpted from precious hard material, the enamel glow of ruby-red, deep blue, silver-pink, emerald-green tones of clothes with the subtlety of transmitting bright, space-filling light.
The festive splendor characteristic of these works reaches its apogee in the Annunciation, designed as a theatrical secular spectacle.

Music: Andante cantabile - A. Sevidov (piano), Glinka - Serenade Es-Dur from Donizetti's opera “Anne Boleyn”

Egyptian, Russian and Italian zodiacs. Discoveries of 2005–2008 Gleb Vladimirovich Nosovsky

3.4.6. The zodiac "FR" was probably created by the artist del Cossa for the Duke of Ferrara Francesco d'Este (1662–1694), but then erroneously attributed to the non-existent artist Francesco del Cossa

3.4.6. The Zodiac "FR" was probably created by the artist del Cossa for the Duke of Ferrara Francesco d'Este (1662–1694), but then erroneously attributed to the non-existent artist Francesco del Cossa

Let us now turn to the statement of historians that the fresco with the zodiac “FR” in the “Scythian Chamber” allegedly belongs to the brush of the artist Francesco del Cossa, p. 110. Where did this information come from? Let us ask ourselves: is the artist Francesco del Cossa, who lived in the mid-15th century, known in Ferrara history? After all, if he was entrusted with such a responsible task as painting the ducal palace, then, one must think, this artist was quite famous in Ferrara. It turns out, however, that among Ferrara artists only Stefan Cossa is known by the surname Cossa. But not Francesco! For example, Encyclopedic Dictionary Brockhaus and Efron, published in late XIX century, provides an extensive list of names of Ferrara artists. But he doesn’t mention a word about the artist Francesco del Cossa. Regarding the Ferrara school of painting and its representatives, the Dictionary reports the following.

“Ferrara painting is the fruit of the crossing of various influences, mainly Mantegna (Padua and Mantua), with its strong drawing and LINEAR PERSPECTIVE ( linear perspective appeared in painting, most likely, no earlier than the 16th century - Auto.), as well as Piero della Francesca (Bologna), with its rich airiness and brightness of colors... The Ferrara school was far from beauty and harmony, it was not penetrated by the nobility of mood, characteristic in general for Italian art; IT CAN BE FELT THE INFLUENCE OF SOME NORTHERN STREAM. - Of the earlier members of the group, Cosimo Tura (1432–1495) and STEFANO COSSA (1438–1480) stand out. The remaining paintings are scattered in various museums... Particularly interesting are the ceremonial frescoes ("rtionfi") in the palazzo Schifanoja (Ferrara Sans Sonci), allegorically depicting - under the guise of 12 months, signs of the zodiac, gods and goddesses, field work - scenes from life at court Dukes of Este (poorly preserved). Tura, in addition, painted the chapel of the magnificent country palace Duke of Borso (Belriguardo). Among their contemporaries, Lorenzo Costa (1460–1535) also gained fame... then Francesco Bianchi (1448–1510), a student of the same and teacher of Correggio, Domenico Panetti (1458–1512), Ercole dei Roberti (d. 1496) and Ercole dei Grandi (d. 1531)... The last of the artists mentioned linked the elders with the later generation of the school, best represented by Ludovico Mazzolino (1481–1529). Timoteo Viti (1467–1523), Dosso Dossi (1479–1542), Benvenuto Tisi da Garofalo (1481–1559)… Ferrara artists of the second half XVI centuries and early XVII centuries degenerated into “mannerists” - imitators of Correggio and others (see E. Muntz, “Hist. de l`art pendant la renaiss.”, II, 270-75, 607-16; III, 261-60)”, Ferrara article.

And again we are faced with the unanimous opinion of historians that, they say, everyone is wonderful cultural events in Ferrara date back to the 14th–16th centuries. After the mid-16th century, nothing significant allegedly happened in the art of Ferrara. By the middle of the 16th century, we are told, Ferrara artists “degenerated into mannerists.” Genuine art- which had previously been “too northern” and “not noble enough” - finally died out in Ferrara.

Let us note that the Ferrara school of painting, according to experts, is very close to the painting schools of the Italian cities of Padua and Mantua. See quote above. But in both of these cities we found zodiac signs with dates. Let us recall the datings we received:

The date of the zodiac “FR” from Ferrara (1680 AD) quite naturally fits into the series of these datings.

But let’s return to the frescoes of the “Scythian Chamber”, which depict the zodiac “FR”. As we can see, they, according to historians, were created by the artists Cosimo Tura and Stefano Cossa for the Ferrara Duke Borso, who ruled in the 15th century. But then why do modern historians believe that the fresco with the zodiac was created by a certain “artist Francesco del Cossa”? History is silent about an artist with that name. The dating of the zodiac we obtained was 1680 AD. e. allows us to presumably answer this interest Ask. And then everything falls into place.

The fact is that in 1680 a duke named FRANCESCO II d'ESTE ruled in Ferrara. His reign was from 1662 to 1694. This means that the Ferrara zodiac was created precisely under Duke Francesco. At the same time, in the history of Ferrara painting, the artist Stefan Cossa is known, who allegedly lived in the 15th century and was directly related to this fresco, see above. He probably created it, but not in the 15th century, but at the end of the 17th century!

But then a natural thought arises. Isn't the name of the artist "FRANCESCO DEL COSSA" made up of fragments of TWO DIFFERENT NAMES - the name of Duke FRANCESCO D'Este and the name of the artist Stefan COSSA? Probably some old text said that the fresco was created by the artist del Cossa at the behest of Duke Francesco. Historians, following their erroneous dating of the fresco to the 15th century, have not found a duke named Francesco in the history of Ferrara in the 15th century. Therefore, they had to attribute the name "Francesco" to the artist. It turned out mythical artist"Francesco del Cossa". The historians diplomatically kept silent about the fact that there was no such artist in Ferrara, and that the artist STEFAN Cossa was considered the author of the frescoes. They committed another deception in order to save the Scaligerian chronology.

In conclusion, let us note that the name of the palace in Ferrara is “Scythian Chamber”, - amazingly echoes the indignant cries of historians that, they say, old Ferrara painting was “too northern” and “not Italian enough,” see above. Apparently, the northern Russian-Horde, “Scythian” past was still strongly felt in Ferrara at the end of the 17th century. And it was even reflected in Ferrara painting of that time.