COSSA, Francesco del

The detail shows the upper part of the lower layer of the Allegory of April. The scene represents the Palio (race) of Ferrara.

The detail shows the upper part of the lower layer of the Allegory of April. The scene represents the Palio (race) of Ferrara.

The detail shows the upper part of the lower layer of the Allegory of April. The scene represents the Palio (race) of Ferrara.

The Salone dei Mesi (Room of Months) in the Palazzo Schifanoia, one of the masterpieces of Italian palace architecture, was decorated with a series of allegorical frescoes symbolizing the months. The length of the room is 24 m, the width 11 m and the height 7,5 m. The frescoes are attributed to Cosme Tura, Francesco del Cossa, Baldassare d’Este and Ercole de’ Roberti.

On the southern wall January and February, on the eastern wall March, April and May, on the north wall June, July, August and September, on the west wall October, November and December were represented. Due to negligence it was in a very bad state already in the 18th century. Today there remained only fragments of the frescoes on the southern and western walls, while those on the eastern wall and most on the northern are in relatively good condition. This means that the visitor can view the surviving allegories of seven months (March, April, May, June July, August and September).

In all allegories the episodes are arranged in a three-tiered, frieze-like manner; in the upper sphere, the sphere of mythology, each month and its planet are paralleled by their ancient divinity in a triumphal procession. The middle layer shows the signs of the zodiac, while below are rendered the courtly events appropriate to the particular time of year.

The upper scene depicts the Triumph of Venus as an allegory of April. Below, astrological symbols are represented.

This detail shows the left part of the middle layer representing the zodiac sign Bull.

The picture shows the central scene of the upper layer of the Allegory of April.

In the centre of the eastern wall is located the Triumph of Venus. On the right side loving couples are depicted with musical instruments. In the background of the right side the Three Graces can be seen.

This detail shows pairs of lovers.

The painting above the month of April depicts the triumphal entry of Venus. From it a detail is presented here which shows lovers kneeling and embracing each other while surrounded by other youths and maidens. The figures at the edge of the group hold decorative lutes, while the central figure, immediately above the couple, bears a pair of flauti dolci (soft recorders). In this picture, music is in direct relation to love; it is an attribute of bodily pleasure. Especially characteristic is the role of the two flauti dolci, which, partly because of their suggestive shape became the symbol of fertility.

This detail shows the triumphal car of Venus, with Mars kneeling before her.

This detail shows the central part of the middle layer representing the zodiac sign Bull.

This picture shows detail from the scene Borso and the buffoon Scocola on the lower layer of the fresco.

The Salone dei Mesi (Room of Months) in the Palazzo Schifanoia, one of the masterpieces of Italian palace architecture, was decorated with a series of allegorical frescoes symbolizing the months. The length of the room is 24 m, the width 11 m and the height 7,5 m. The frescoes are attributed to Cosme Tura, Francesco del Cossa, Baldassare d’Este and Ercole de’ Roberti.

On the southern wall January and February, on the eastern wall March, April and May, on the north wall June, July, August and September, on the west wall October, November and December were represented. Due to negligence it was in a very bad state already in the 18th century. Today there remained only fragments of the frescoes on the southern and western walls, while those on the eastern wall and most on the northern are in relatively good condition. This means that the visitor can view the surviving allegories of seven months (March, April, May, June July, August and September).

In all allegories the episodes are arranged in a three-tiered, frieze-like manner; in the upper sphere, the sphere of mythology, each month and its planet are paralleled by their ancient divinity in a triumphal procession. The middle layer shows the signs of the zodiac, while below are rendered the courtly events appropriate to the particular time of year.

In the allegory of March the Triumph of Minerva is represented on the upper layer. In the centre of it there is the goddess, on the left a group of poets and magistrates, on the right women with symbols of feminine labour. The middle layer represents the zodiac sign Aries, while the lower layer depicts a hunting scene.

The upper scene depicts the Triumph of Minerva as an allegory of March. Below, astrological symbols are represented.

This detail shows the right part of the upper layer of the fresco, women with symbols of feminine labour.

This detail shows the central part of the middle layer representing the zodiac sign Aries.

This detail shows the left part of the middle layer representing the zodiac sign Aries.

This detail shows the right part of the middle layer representing the zodiac sign Aries.

This detail shows mounted falconers.

This detail shows vine growing.

This picture shows detail from the lower layer of the fresco.

Above the triumphal car of Apollo is depicted, to the left are poets, to the right naked boys. In the centre Gemini, below rural activities are represented.

This detail shows the upper layer (Triumph of Apollo) and middle layer (zodiac sign Gemini) of the allegory of May.

In the upper scene Apollo can be seen in the centre, on the left side the poets, on the right side the nine Muses are represented. In the lower part a kneeling man is listening to music played on a musical instrument (wind instrument), on the left a teaches a young to the rules of poetry or music, on the right a man stand with a bow.

This detail shows the upper layer (Triumph of Apollo) and middle layer (zodiac sign Gemini) of the allegory of May.

In the upper scene Apollo can be seen in the centre, on the left side the poets, on the right side the nine Muses are represented. In the lower part a kneeling man is listening to music played on a musical instrument (wind instrument), on the left a teaches a young to the rules of poetry or music, on the right a man stand with a bow.

The main panel and the predella formed the altarpiece of the church of Observation in Bologna. At both sides of the predella there were two small paintings representing St Clare and St Catherine of Alexandria, presently both in the Thyssen collection in Madrid.

The altarpiece was attributed to Mantegna until the end of the 19th century.

Suggested listening (streaming mp3, 22 minutes):

Thomas Tallis: Mass (Puer natus est)

In his paintings Cossa shows a special interest in rocky landscapes and in the stones, carved and otherwise, of which architecture is built. This affinity emerges behind the standing figure of John the Baptist in a landscape of rocky pinnacles, open arcades, and natural bridges supporting turreted castles and domed churches stacked in impossible positions.

This painting together with its counterpart representing St Florian belonged to the Griffoni Polyptych and were probably located on the upper part of the side panels.

A plant form with eyes held by the saint refers to the medieval legend that Saint Lucy, patron saint of eyesight, sacrificed her eyes for her Christian faith.

The reconstruction of the polyptych, dismembered in the 18th century, is not unambiguous. It seems certain that the central panel was the painting of St Vincent Ferrer while on his sides were St Peter and St John the Baptist. Paintings of St Lucy and St John the Baptist were probably located on the upper part of the sides while a Crucifixion tondo was in the upper central position. The predella was executed by Ercole de’ Roberti.

Suggested listening (streaming mp3, 3 minutes):

Guillaume Dufay: Aurea luce, hymn for the feast of Sts Peter and Paul

In his paintings Cossa shows a special interest in rocky landscapes and in the stones, carved and otherwise, of which architecture is built. This affinity emerges behind the standing figure of John the Baptist in a landscape of rocky pinnacles, open arcades, and natural bridges supporting turreted castles and domed churches stacked in impossible positions.

The reconstruction of the polyptych, dismembered in the 18th century, is not unambiguous. It seems certain that the central panel was the painting of St Vincent Ferrer while on his sides were St Peter and St John the Baptist. Paintings of St Lucy and St John the Baptist were probably located on the upper part of the sides while a Crucifixion tondo was in the upper central position. The predella was executed by Ercole de’ Roberti.

The reconstruction of the polyptych, dismembered in the 18th century, is not unambiguous. It seems certain that the central panel was the painting of St Vincent Ferrer while on his sides were St Peter and St John the Baptist. This Crucifixion tondo was probably in the upper central position. The predella was executed by Ercole de’ Roberti.

On the Crucifixion tondo, in spite of heraldic simplicity, the statuesque figures convey an impression of grief with force and poignancy.

Suggested listening (streaming mp3, 3 minutes):

Guillaume Dufay: Hymn for Easter

This signed and dated painting was commissioned by justice Alberto de’ Cattanei and notary Domenico degli Amorini for the Palazzo della Mercanzia nel Foro dei Mercanti in Bologna where it remained until 1785.

The saints on the painting are St Petronio and St John the Evangelist. The kneeling figure in profile is Alberto de’ Cattanei.

The identity of the sitter is unknown. However, the panel clearly depicts a real person who wished to have his portrait painted, perhaps as a record of his engagement, which would explain the ring which he intends to give to his betrothed.

The present painting is a rare example of Cossa’s work as a portraitist.

The reconstruction of the polyptych, dismembered in the 18th century, is not unambiguous. It seems certain that the central panel was the painting of St Vincent Ferrer while on his sides were St Peter and St John the Baptist. Paintings of St Lucy and St John the Baptist were probably located on the upper part of the sides while a Crucifixion tondo was in the upper central position. The predella was executed by Ercole de’ Roberti.

Suggested listening (streaming mp3, 3 minutes):

Guillaume Dufay: Aurea luce, hymn for the feast of Sts Peter and Paul

The main salon of the Palazzo Schifanoia (length: 24 m, width: 11 m and height 7,5 m) is decorated by frescoes executed by Cosme Tura, Francesco Cossa, Baldassare d’Este and Ercole Roberti.

On the left of the eastern wall is located the Triumph of Minerva. The goddess is represented in the centre of the fresco, while on the left side a group of magistrates and lawyers, on the right side women doing needlework (the symbol of woman work) are represented.

This view of the Salone dei Mesi in the Palazzo Schifanoia shows, from the left to the right, frescoes of the months of September, August, July, June, May, April, and May, respectively. The decoration was commissioned by Borso d’Este. The name Borso gave to this pleasure palace means “away with boredom.”