Art XV 2. Art of Northern Italy

Architecture

Because of the Alps, cold currents still penetrated into northern Italy. Northern Late Gothic still dared to compete with ancient forms. Until 1487, German and French architects were invited to Milan to participate in the construction of the cathedral. But from the south, the Tuscan and Middle Italian early Renaissance was already knocking at the gates of northern Italian cities.

We have already met in Milan Niccolò d'Arezzo, below we will see what important role Florentine Filaret and Urbian master Bramante played here. In Northern Italy, there was no shortage of ancient Roman architecture, or monuments of Romanesque stone architecture and the rich decorative elements of Gothic, with which brick architecture and clay plasticity had already successfully competed for centuries. It is not surprising that the Romanesque-Lombard galleries on the columns disguised by the ornamental forms of the Renaissance are found in the churches of the 15th century, and the romance vultures (corner sheets) are found in the Attic bases of the columns of the Lombard loggias and galleries. Even the Florentine architects who worked in Milan in the second half of the 15th century could not yet expel the Gothic pointed arch and other individual Gothic forms from the overall composition of Renaissance ornaments, mostly made from baked clay. Of all these interacting influences, the North Italian style of the early Renaissance developed during the 15th century, which, however, until the appearance of Bramante, never achieved the purity and elegance of the Tuscan Renaissance, but usually surpasses its richness and beauty of ornamentation.

In Milan, the last Visconti died in 1447, leaving behind no male offspring. In 1450, condotier Francesco Sforza was clothed with the triumph of the people with ducal dignity. But already under the second successor to Francesco, Louis Moreau, whose friends and court artists were Bramante and the great Leonardo da Vinci, the lucky star of Sforza went home. Just about 1500, Louis was captured by the French, where he died.

One of the first works of Francesco Sforza for the benefit of art was the invitation of the Florentine Antonio Averlino, nicknamed Filaret (c. 1400–1469), already in 1451 occupied in Milan with the construction of “castello”. Francesco Sforza wanted to make his stronghold more pleasant for the people of Milan with the help of a beautiful view. Unfortunately, nothing has survived from it, as well as from many other buildings of Filaret in Northern Italy (V. von Ettingen wrote about them). Of the structures that have come down to us, the most remarkable is the hospital complex Ospedale Maggiore, which began construction in 1456. The initial project of this monumental building, sustained in pure Renaissance style, published by Philaret himself in his Treatise on Architecture (1460–1464), was completed only in modified form, representing a compromise with the Lombard gothic. It is a brick construction with stone columns and arches, but with terracotta friezes and frames and with a luxurious brick cornice of a pure antique profile. The ground floor opens out through galleries with semicircular arches. A wide strip of terracotta frieze, filled with a rich Renaissance ornament, separates the lower floor from the upper one, the whole dismemberment of which consists of lancet windows, distributed in a Gothic manner, but with a rectangular frame. The terracotta framing of these windows, consisting of three strips, makes it possible to trace the gradual transition from the gothic forms to the imitating ancient ones. It is easy to oppose the lack of cleanliness in this mixed style, which the Milanese could not refuse for a long time, but it is not difficult to feel its picturesque charm and decorativeness. The appointment of Filaret’s successor to the construction of the Lombard hospital Gwiniforte Solari clearly affected Lombard architects' opposition to the Florentine style.

The construction of the Milan Cathedral, which in 1400–1448, had a similar fate. led in the old spirit of Filippo degli Organi (da Modena); in 1452 Filarete was appointed as the builder of the cathedral (along with Giovanni Solari), but already in 1454 he was dismissed from these duties; also the great Bramantes and Leonardo da Vinci, despite the advice they demanded from them, did not gain access to the construction of the cathedral, where they were now mainly engaged in the construction of a dome, which, however, resembled a tower of a medium cross, rather than a real dome. Only when Lombard sculptors and architects Giovanni Antonio Amadeo (or Omodeo; 1447–1522) and Giovanni Giacomo Dolchebuono (about 1440–1506), who were able to speak not only Gothic, but also in the ancient language of forms, took about 1490 years into their hands. The construction manual, the dome and the tower with a staircase with their rich marble sculptural decoration were completed in the forms of the brilliant late Gothic style exactly in 1500.

The transition from the Gothic style to the Renaissance is embodied by two large ecclesiastical buildings of the outskirts of Milan - Certosa (the Carthusian monastery) in Pavia and the Cathedral in Como. In contrast to its Gothic interior, the Church of Chertozy received an appearance in the forms of the Renaissance, which, however, at first were not yet free from medieval traditions. Even the galleries on the columns of the Romanesque character, adorning the semi-circular absurdities of the choir (fig. 447), which harmoniously combine brick, stone and terracotta coverings with green glaze, upon closer examination appear to be exemplary works of the Upper Italian Early Renaissance. The Lombard master Giniforte Solari, who led the construction since 1453, gave them the details most characteristic of his manners. Upper Italian Early Renaissance reaches full brilliance in the arcades of the courtyards (fig. 448), whose walls are made of bricks, while the columns with attic bases preserve, like in the columns of the choir, romance corner leaves (vultures) are carved out of marble, and arches, friezes and all of their unusually rich decoration - stucco, from baked clay. The famous door of the cloister's small gallery is a masterful work of the ornamental art of the early Renaissance, of which there is hardly any in all of Italy, also the work of the builder of the Milan Cathedral Amadeo. All facades of this era are surpassed in magnificence in the style of marble inlays by the western facade of Certosa, the construction of which (after the initial project of Gviniforte was left) was entrusted in 1473 to the brothers Christoforo (died in 1482) and Antonio Mantegazza. In 1475 Amadeo joined them, who was engaged in this construction almost until the end of the century. Countless individual small images, reliefs and statues cover this delightful facade. On the lower frieze of the basement, decorated with numerous reliefs on scenes from ancient history, mythology and poetry, the themes of ancient art are also resurrected. However, on the main frieze of the basement, dismembered by means of box-like reliefs with oblique walls and rich backgrounds, scenes from the Sacred History and legends about the saints appear. The protruding pilasters and frames of four divided by rich, candelabra-style, columns of windows with direct architraves are decorated with many statues of saints in niches, heads in medallions and all sorts of ornaments. The main portal in the form of a Roman triumphal arch, supported on each side by a pair of protruding columns, was completed only in 1501 by Benedetto da Brisco.

Fig. 447. Part of the lateral apse of Chertoz in Pavia. By gruner

Fig. 448. Yard Chertozy in Pavia. From the photo

The Cathedral in Como reflects even more clearly the various twists and turns of its centuries-old building structure (from 1396). From the original building, the gothic architecture of which still resembles the church of Sts. Petronia in Bologna, only two front spans of the three-nave longitudinal hull are preserved. Under the leadership of the architect Pietro da Breugia (1426–1456), the following three flights of the longitudinal hull were rebuilt, in new proportions and with capitals of columns, in the acanthic foliage of which cupids are already frolicking (putti). Then, under the leadership of Florio da Bonta (from 1460 to 1463) and Luchino da Milano (1463–1486), a marble main facade was constructed, in a mixed style typical of Lombard architecture, which included both Gothic and antique elements. Pure forms of the Renaissance appear only from 1484, when the building passed into the hands of Tommaso Rodari. The lateral facades of the cathedral are delightful with simple but refined forms, in which, together with A. G. Meyer, we are inclined to see the reflection of the councils of Bramante; although the portals and window frames of these facades were erected in an irregular sequence, the art of Tommaso Rodari and his brother Jacopo manifested themselves in all their glory. The choir, transept and dome associated with the work of Rodari were begun in 1513. But we know that the Rodari plans were replaced in 1519 by the project of Cristoforo Solari, who studied in Milan with Bramante. It is not surprising that in the eastern parts of the cathedral Bramante style found its purest expression.

The work of Amadeo did not affect Bramante. His tomb Colleoni in Bergamo (started in 1470), the marble, richly decorated facade of which gives the impression of imbalance, thanks to filling all its major surfaces with prospectively arranged black, white and red cubes, shows us a wayward Lombard Renaissance in its entire whimsy of its overall composition and buildings. But already Dolchebuono and the Rodari brothers to some extent fell under the influence of Bramante. Dolcebouono’s own buildings are the interiors of the churches of Santa Maria presso San Chelso (circa 1490) and San Maurizio (circa 1503), both in Milan. Rodari style can be traced from Como to Lugano and Tirano.

The year when Pascuccio d'Antonio appeared in Milan (Bramante, a native of Fermignano, near Urbino (1444–1514), was not exactly determined by the investigations of Seidlitz, A.G. Meyer and Beltrami. In general, his stay in Milan coincides with the reign of Louis Moreau (1478–1500); Bramante moved to Rome in 1499. Although, in contrast to the Lombard sculptors and architects, Bramante was said to have begun his work as a painter, he was an excellent architect, with a highly developed sense of noble proportions using forms of ancient architecture In urbino n The development of his talent was undoubtedly influenced by Laurana, and perhaps also by Alberti, but the details of his artistic education are unclear to us. Indeed, at the end of the 15th century, a number of buildings appeared in Faenza, Forli, Imola and other neighboring areas. as close to the buildings of Laurana in Urbino, Pesaro and Gubbio, as the buildings of Bramante. Italian researchers even consider the church of San Bernardino and the Palazzo Pascionei in Urbino as youthful works of Bramante. His work in Milan (after 1470, according to an old source) was the church of Santa Maria Presso San Satiro. Here the transept consists, as in the Church of San Bernardino of Urbina, from “a square domed section between two low valleys of the same width”; the south facade reveals all the nobility of pure sense of style in its classically simple pilasters and portals topped with gables; the octagonal sacristy illuminated by round windows in the eight faces of the dome is magnificent. Its clearly dissected and highly elegantly decorated interior is the first Milanese enclosed space where all traces of the Gothic architecture disappear. Since 1492, Bramante built in Milan the choir of the church of Santa Maria delle Grazie with semicircular abscies, the main charm of which is the refined combination of marble and brick architectural parts of the choir and their frames, the noble simplicity of the Renaissance form language in profiles, pilasters, wall chandeliers, medallions and in all the ornamentation. By the same time, the charming arched gallery of the cloister of the church of Sant Ambrogio with slender, gracefully narrowing columns upwards; between their free-standing capitals and beautiful spots of arches, imposts (campers) of a very elegant profile are inserted.

The fame of Bramante was immense in Northern Italy. His original works were followed at the end of the 15th and the beginning of the 16th centuries by numerous Bramanto-style buildings. In church architecture, this style preferred the central form over the basilic. The main buildings of this genus are Inkoronata in Lodi, the Church of Our Lady in Busto Arsizio, the cruciform church in Crema, the church of San Muño in Legnano, the reticular twelve-sided dome La Madonna in Saronno, the original, later built-up part of the church of Santa Maria della Passion in Milan, which was blocked by a dome in 1509. Cristoforo Solari. The style of Bramante spread to the palace architecture, which received, of course, its local imprint in various cities. Florentine rustic penetrated in Milan. Facades of Milanese nobility with spacious courtyards surrounded by light arcades facing the street usually also open with arcades in the lower floor, and in the upper floor they are richly framed with arched windows.

In the style of Bramante, the courtyard of the Archbishop's Palace in Milan is made, as is the magnificent building of the hewn stone of Casa Raimondi in Cremona, both floors of which are dissected by Ionic double pilasters; brick facades and courtyards of the palaces of Cremona, Lodi, Piacenza and Pavia were built brick, but decorated with stone portals and stone columns. The stone portal of the former Palazzo Stanga in Cremona, which has now been installed in the Louvre, is one of the most magnificent and beautiful works of this genus of the entire early Renaissance, both in its architectonics and in its decorations. Cremona terracotta ornamentation reaches its brilliance on the facade and courtyard of the former Palazzo Fodri (now a city pawn shop).

From Pavia through Piacenza, Parma and Modena, approaching Bologna, there is a noticeable confusion of the Bramantian style with the Bologna palace style and local independent currents. If, on the one hand, the small, elegant church of San Sepolcro and the beautiful central type of the church of Madonna della Campagna in Piacenza are represented to such a strong degree by Bramanta that they were previously attributed to Bramante himself, then on the other hand, for example, it is lined with columns, equipped with boxed vaults and the domed monastery church of San Sisto (1499–1511) in the same Piacenza and the slender, lined pillars of the church of San Giovanni in Parma (1510) are distinguished by a significant originality of the internal architecture, while the brick facade The church of San Pietro in Modena shows how sophisticated this style is in external architecture.

The early Renaissance of Bologna, to which F. Malaguzzi-Valery was thoroughly researched, could not get rid of for a long time, especially in church architecture, like the Milan early Renaissance, from gothic influences. Indeed, here not only the church of San Petronio continued to be built in the old style, but around 1480 a new church of Santa Anunziata was built in the Gothic style, near the arsenal. In other cases, the old Gothic churches of Bologna received only certain additions in the style of the early Renaissance. Antique motifs were transformed to the highest degree in a terracotta style on the cheerful facade of the church of Madonna di Gallier (1510–1516); The semicircular wall protrusions of the church of San Giovanni in Monte (1473) make a special impression; A sample of the most luxurious brick decoration represents the facade of the Church of the Body of Christ (1478–1481) with the famous portal. The new building of the XV century, where, however, the early Renaissance was disguised by later rebuildings, is only the church of San Michele in Bosco, begun in 1437

In Bologna interesting palace architecture. The buildings of the first half of the 15th century, Palazzo Comunale, Markancia and the house of Tacconi, built, as Ricci proved, by the great engineer Fioravante Fioravanti (circa 1360–1447), belong to the transitional style. Arched windows, such as the Palazzo Comunale, are framed by a series of squares with rosettes inside. The peculiarity of the Bologna palace architecture is the transformation of the lower floors of the facades into arcades, moving from one house to another and stretching along most of the streets on both their sides and thus protecting from rain and heat, and using bricks for the facade columns and palaces. From the monuments of this style, we note the Palazzo Izolani (1453), which, with the semicircular arches of the lower floor, has windows still framed with lancetted arches, but they, however, are already arranged on the sides with pilasters with flutes, while Palazzo Fava (1483) has windows with round arch, although the entire surface of the facade is designed in the spirit of the Renaissance. Of the rare buildings without arcades in the lower floor we will call the Bevilacqua Palace (started in 1481), it is built, as an exception, from ashlar and has luxuriously decorated pilasters on the sides of the windows; Rustic is here in the form of crystal faces (facetting), with each individual stone polished.It has no arcades and the Palazzo Strachaiuoli (1496), attributed to the jeweler-painter Francesco Francia. It is crowned with battlements, an unsuccessfully dismembered building constructed with wall pilasters and round windows. A special place is occupied by the Palazzo del Podesta (1492–1494); its lower floor, dissected by semi-columns, has a faceted rustic, known in the Bevilacqua Palace, while the upper brick floor is dissected by graceful wall and window pilasters, but in general it is made without delicate taste.

В Ферраре есть несколько церквей в стиле раннего Ренессанса, из которых колонная церковь Санта-Мария ин Вадо и поставленная на столбах церковь Сант-Андреа еще покрыты плоскими деревянными потолками, а также несколько дворцов того же стиля: палаццо де Диаманти (теперь Атенео) соединяет гранные блоки палаццо Бевилаква в Болонье с изящно украшенными стенными пилястрами и красиво обрамленными окнами. В Падуе, напротив, из построек раннего Ренессанса заслуживает упоминания, собственно, только одно, но зато благородное и оригинальное здание городского Совета (Лоджия дель Консилио), начатое в 1493 г. Над открытой лестницей в 14 ступеней возвышается лоджия с широко расставленными стройными мраморными колоннами, а над ней — украшенный изящными пилястрами и очень удачно расчлененный посредством окон мраморный фасад.

It’s a real challenge to make it true that it’s possible to make it. It is true that the Venetian early Renaissance, though it was not so much the luster world It was a picture of the building.

The Venetian early Renaissance, described by Paoletti, began to be released late from the Gothic tradition, therefore its development still captures a significant part of the XVI century. Its architects, in most cases at the same time also sculptors (many of them are Lombards), lived in the second half of the 16th century. The Gothic masters were the oldest members of the family Buon - Giovanni (about 1375-1445) and his son Bartolomeo (about 1410-1470), the builders of the charming Ca-Doro Palazzo on the Grand Canal, finished in 1437, and the magnificent Port della Carta ( 1438–1441) Doge's Palace; Gothic architect was also Antonio di Marco Gambello (died in 1481), who began in 1458 the church of San Zaccaria with a pointed arched choir. Already the first Venetian painter of the Renaissance Moreau Konducci, nicknamed Moretto (died 1504), was a Lombard native, born in Bergamo; from Karona on Lugansk Lake there is a genus of artists: Lombardi, Pietro di Martino Solari, nicknamed Pietro Lombardi (c. 1437–1515), his sons Antonio (d. in 1516) and Tullio (d. in 1532) Lombardi and his grandchildren; Antonio Rizzi was born in Verona (about 1430-1500), Fra Giocondo (about 1433-1515); again from Bergamo came the younger Bartolommeo Buon (died in 1529) and Guglielmo Bergamasco — representatives of the Venetian early Renaissance (first half of the 16th century). Where we saw the light of Antonio Scarpagny, known as Skarpanino (c. 1480–1558), is unknown to us. Here we called the main architects of the Venetian early Renaissance. Since they often worked one after the other or at the same time as architects or sculptors on the same buildings, it is not always easy for each individual architectural monument to determine the degree of their personal participation.

Moro Konducci's first work was simple in the spirit of the Venetian Renaissance facade of the church of San Michele with a flat surface; its middle part is crowned with a semicircular gable, the side parts are halved with such a gable. He rebuilt the Gothic Gothic-style church of San Zaccaria (1483–1488) in the immaculate style of the early Renaissance; especially characteristic here are semicircular gables, polychrome stone cladding of the facade and arabesque pilasters. From 1497 he built the church of San Giovanni Chrysostomo, in the interior of which the Byzantine system of a flat dome above the Greek cross was again resurrected, with a delicate taste reworked in the spirit of the Renaissance. Along with other architects, Moreau also led the construction of the school of San Marco, one of those Venetian corporate buildings to which the city owes a great deal to its overall appearance; from private palaces in Venice, he apparently owns the Palazzo Vendramin and, in the main parts, the strict Palazzo Corner-Spinelli, whose lower floor is lined with rust, and both upper floors are distinguished by exceptionally successful placement of Gothically-divided windows with round arches. In any case, Moreau Konducci possessed a subtle artistic flair in the application of the Upper Italian Early Renaissance to local Venetian conditions.

Known vigorous building activity of Pietro Lombardi and his sons Antonio and Tullio. Between 1480 and 1485 they built the small church of Santa Maria dei Miracoli, which earned so much praise; its two-tier facade, crowned with a single semicircle and dissected by pilasters, despite the unsystematic arrangement of windows and arbitrariness in decorating the walls, is full of inimitable charm and leads one to believe in the true value of its forms. The main part was taken by Lombardi in the construction of the facade of the school of San Marco, wealth, fantastic and whimsical superior even to the facade of Santa Maria dei Miracoli. The upper gables crowning the building are semicircular here; inside the facade, triangular joins to the flat semicircular gables; wall pilasters are prohibitively tall and thin; but the filling of the wall surfaces of the lower floor with perspective-depth, carved from marble false architecture is completely unheard of. Pietro Lombardi’s participation in a whole series of large secular buildings that emerged in Venice at that time is not in doubt: from 1480 in the construction of the first and second floors of an elegant, lengthy Old Procurations building divided by semicircular arches and semi-columns, from 1499 to 1511 of the courtyard Doge's Palace, which reflected the entire history of the Venetian Renaissance. Pietro Lombardi with certainty can be attributed to perform (on the draft Moro) Palazzo Vendramin Calergi (1481) - delightful monument Venetian palace monument Venetian palace architecture early Renaissance with its upper floors, consisting almost entirely of bifid windows with semicircular arches and pilasters, with its clear horizontal dismemberment, with its rich inlays and ornamentation (Fig. 449). Without Lombardi, Venice would be different.

Fig. 449. The facade of the Palazzo Vendramin Calergi in Venice. From the photo

The architectural activity of Antonio Rizzi unfolded mainly in the courtyard of the Doge’s Palace. From the younger generation of Bergamas people working in Venice, Bartolommeo Buon stands out. He designed a powerful, already resembling the High Renaissance facade of the school of San Rocco, which is decorated on both floors with protruding columns and double windows with gables; begun in 1517, the facade was completed only in 1550 Scarpagnino.

In Treviso, many buildings of Pietro and Tullio Lombardi (the cathedral choir was first built, the second is an elegant transept of the church of Santa Maria delle Grazie), and in Verona, the birthplace of the ancient antiquity researcher and architect Fra Giocondo (around 1436–1515), we note the elegant , a merry loggia del Consiglio (the building of the Council; 1476–1493), whose belonging to this master is disputed. Brescia has several unusually rich buildings of the early Renaissance, in which the mature features of the style of time are imbued with the elegance of the invention. The church of Santa Maria dei Miracoli is supported inside with thick columns in the style of candelabra, growing from acanthus leaves and hung at the top with naturally sculptured flowering branches; from the outside, it is dissected by pilasters entwined with intricate arabesques in the taste of the Upper Italian Early Renaissance. The most interesting secular construction of this style of architect Tommaso Formentone from Vicenza - Loggia del Concilio (started in 1489), the lower floor of which opens on three sides with monumental semicircular arcades with sharply protruding Corinthian columns.

In all these buildings it is not difficult to recognize the Lombard and Lombard-Venetian peculiarities, but along with them, as noted by A.G. Meyer, also features of the Bramante style that spread at the end of the 15th century throughout Northern Italy. In Rome, we will meet again with Bramante, but already as one of the creators of the High Renaissance.

Plastics

Even more closely than in Tuscany and Central Italy, plastic has grown together with architecture, in relation to which it plays a service role, in a large part of Northern Italy; on the other hand, even with greater clarity than in architecture, the Tuscan influence in the plastics of the artistic regions of Northern Italy. Starting with Niccolò d'Arezzo, Andrea del Verrocchio and Leonardo da Vinci, many Tuscan sculptors were invited to Milan, Verona and Venice. But of particular importance was the ten-year activity of Donatello in Padua, who created a school here. In Lombardy, however, the harsh naturalism of the Tuscan school often encountered old, backward, somewhat handicraft and weak carvings in stone; in Venice, he mingled with a special sense of nature and beauty inherited from the past; This naturalistic trend developed best of all in Padua, Bologna, Mantua and Modena.

In Milan we will hardly meet sculptors unknown to us by their architectural activity. A huge number of sculptures adorning the Milan Cathedral, represent the path of stylistic development from trecento to cinquecento. The figures of giants under water cannons are the best milestones along the way. In 1401-1425 He worked in Milan Cathedral Jacopino da Tradate, which contemporaries likened Praxitele. His main work is a beautiful sitting statue of Pope Martin V, reflecting the transition from the Gothic style to the Renaissance with the influences of Niccolò d'Arezzo. How the projects, or at least the artistic ideas of Michelozzo, were carried out under the hands of Milan sculptors, show statues, pilaster and medallions with busts on the portal of the Medici Bank, which is now in the Brera Museum, and in particular the famous dance of girl's angels consisting of painted clay figures , in long robes, under the dome of the Portinari chapel in Milan. The second half of the 15th century includes rows of statues, reliefs of historical content, busts in medallions, symbolic animal figures that adorn buildings such as, for example, Certosa in Pavia, the Cathedral in Como, or the Colleoni Chapel in Bergamo Cathedral. The names of the brothers Antonio and Cristoforo Mantegazza, Giovanni Antonio Amadeo, Gian Cristoforo Romano, Benedetto Briosco and Cristoforo Solari are connected with the sculptural decorations of Chertozy in Pavia. For the sculptures of the cathedral in Como, the brothers Tommaso and Jacopo Rodari made drawings; the sculptural decoration of the burial chapel of the condottiere Colleoni in Bergamo belongs mainly to Amadeo; the outstanding goldsmith Cristoforo Fopp, nicknamed Caradosso (after 1452–1527), is entrusted with charming amusing, playing with musical instruments angels and typical heads in luxurious round frames, resembling similar ones taken from Roman coins in the frieze of the Baptisteria of the San-Baptisteria of San-San-Baptistery built in San-Francis Church . Graceful Amadeo sculptures on the staircase domes, a boldly executed figure of Adam Cristoforo Solari on the facade and his four majestic statues of the Fathers of the Church in the "sails" of the dome stand out in Milan Cathedral. It is difficult, and sometimes impossible, to recognize the hand of individual craftsmen in numerous statues and reliefs on all the buildings we have named. These sculptures, despite the desire for naturalness and expressiveness expressed in them, cannot be compared with the works of Tuscan plastics. They are usually distinguished by greater flabbiness in the structure of the body, smaller folds of clothes and not so uniform filling of the space reserved for them, and, as a rule, are designed for their cumulative effect in the overall picture of the facade.

The tombstones of this school are interesting. The most remarkable of the tombs of the work of Giovanni Antonio Amadeo are in the chapel of Colleoni in Bergamo. The architecture of the Medea Colleoni monument (after 1470) is simple and elegant; the heads of angels support the sarcophagus, on which lies the chaste figure of the deceased. The lower sarcophagus of the monument of Bartolommeo Colleoni (after 1475), supported by columns with lions on the bases, is more demanding. the relief images of the Passion of the Lord, adorning both the lower and upper sarcophagi, are based on the too loose style of the reliefs of the last chairs of Donatello, but are still inferior to them. Jan Cristoforo Romano (1465–1512), Benedetto Briosco and others performed the magnificent tomb of Galeazzo Visconti in Certosa (1470–1497). The best monument of Cristoforo Solari, the tomb of Beatrice d'Este, wife of Louis Moreau, has not been preserved in its architectural parts, but the statues of Louis and his wife, still resting today beside each other in Chertoz, belong to the purest and noblest of them, despite the troubled folds of clothes. to the creatures of the Italian early Renaissance. At the same time, the brothers Tommaso and Jacopo Rodari made amazing ideal monuments for the older and younger Pliniev for the facade of the cathedral in Como. Among the columns in the style of candelabra, already almost anticipating the Baroque, on the consoles, supported by skinny naked figures, sit pagan scholars, whom the artists tried to impart to the classical appearance. Nearby are placed the unique reliefs from the life of both Romans.

The portrait plastic did not play that role in Milan and the neighboring cities as in Florence; and in this area, Cristoforo Solari was one of the main Lombard masters of the transitional period from the XV to the XVI century. His medal images of Tommaso and Giovanni Bossi, in the Brera Museum in Milan, testify to his observation and subtle sense of form. The 21 bust of the Roman emperors by Gaspare da Cairano in Brescia, placed between the arches of Loggia del Concilio, whose characteristic heads compete with the heads of Caradosso in the sacristy of the church of Santa Maria Presso San Satiro in Milan, without reaching their height. In Verona, which in painting, regardless of Tuscany, found its way from the style of trecento to quattrocento, we will meet the first local painter and medalist of the early Renaissance Vittore Pisano, nicknamed Pisanello (c. 1380-1451). In the last decade of his life, he passionately devoted himself to a new branch of small art, probably influenced by the French-Flemish medals he had seen with portraits of the emperors Constantine and Heraclius. The first Pisanello medal also depicts the Byzantine Emperor John Palaeologus, who visited Ferrara in 1438. It was followed by 24 signed and 12 other medals drawn by him, on which Pisanello, constantly invited from one locality to another, authentically perpetuated Italian rulers and prominent people. On the front side, he placed the profile bust of his heroes, depicting them with inexorable realism and an exquisite sense of style. He decorated the reverse side with allegorical reliefs relating to life events, to the name, character, or profession of the persons depicted. His most beautiful works of this kind include the medals of Sigismund II, Novello Malatesta, Cecilia Gonzaga, Lionello d'Este, Leon Battista Alberti (fig. 450) and the Neapolitan king Alfons I. The student of Pisanello in this specialty in Verona was Matteo de Pasti. In Milan, he acquired a follower in the person of Jan Cristoforo Romano (c. 1465–1512), who immortalized on his medals: in Mantua - Isabella Gonzaga, in Ferrara - Alphonse d'Este, in Rome - Pope Julius II and Lucrezia Borgia. In Milan, Cristoforo Foppa, nicknamed Caradosso (after 1452–1527), cast magnificent medals of Francesco Sforza and Lodovico Moro, and in Rome cut seals for broken coins of Julius II and Leo X and performed models for highly artistic cast medals of Bramante, with which he moved in rome

Fig. 450. Vittore Pisanello. Leon Battista Alberti Medal. According to Fabrizi

In Genoa, the Gadzhini family from Bissone on Lugansk Lake distinguished itself in the field of decorative plastics. Domenico Hajini already in 1463 moved to Palermo; the activities of Elia Hajini in Genoa can be proved up to 1481; Pace Hajini, who at the beginning of the 16th century, performed the noble monument of Katharina Ribera described by Karl Yusti in the Seville’s Carthusian Monastery, was also the author of the beautiful statue of Francesco Lomellini (1504), in the Palazzo San Giorgio in Genoa.

Padua, at the turn of the 14th and 15th centuries, already had a kind of proto-Renaissance, which found expression mainly in individual minted in 1390, but remaining, probably without any influence on Pisanello, medals in honor of individual representatives of the Carrara family, but then not showing how much Something is noticeable in the field of plastics, until in the second half of the 15th century Donatello did the city of St.. Anthony one of the focus points in the field of sculpture. Just closer to Donatello, as far as one can conclude from a terracotta altar filled with fresh feeling in the church of Eremitani (Sant'Agostino), stood Giovanni da Pisa. On the contrary, Bartolommeo Bellano (1430–1498), on whom Donatello apparently had the greatest hopes, shows himself to be fanciful, a master who lacks a sense of style and intercom in the large marble wall of the sacristy full of figures. Anthony and in the rambling Old Testament bronze reliefs in the choir of the same church. Among the followers of Bellano, as a bronze caster, stands out Andrea Briosko, nicknamed Riccio (1470–1532), who in his larger works, in complete contrast to Bellano, mixed classicism with a dry form of execution. His two bronze reliefs in the choir of Sant Antonio are quieter than the reliefs of Bellano; along with this, in fine decorative bronze plastics, he achieved such mastery that, predominantly under his name, in the collections are countless pain-taking