In the Louvre, “St Paul Meditating.” In Varallo, convent of the Minorites (1507), a “Presentation in the Temple,” and “Christ among the Doctors,” and (after 1510) the “History of Christ,” in twenty-one subjects; also an ancona in six compartments, named the “Ancona di San Gaudenzio.” In Santa Maria di Loreto, near Varallo (after 1527), an “Adoration.” In the church of Saronno, near Milan, the cupola (1535), a “Glory of Angels,” in which the beauty of the school of Da Vinci alternates with bravura of foreshortenings in the mode of 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 general character, his work appertains more to the 15th than the 16th century. His subjects were always of the sacred order. Ferrari’s death took place in Milan. Besides Lanini, already mentioned, Andrea Solario, Giambattista della Cerva and Fermo Stella were three of his principal scholars. He is represented to us as a good man, attached to his country and his art, jovial and sometimes facetious, but an enemy of scandal. The reputation which he enjoyed soon after his death was very great, but it has not fully stood the test of time. Lomazzo went so far as to place him seventh among the seven prime painters of Italy.
See G. Bordiga, two works concerning Gaudenzio Ferrari (1821 and 1835); G. 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 Layard) pronounced him to be “a good and original colourist, and the best artist that Piedmont has produced.” (W. M. R.)
FERRARI, GIUSEPPE (1812–1876), Italian philosopher, historian and politician, was born at Milan on the 7th of March 1812, and died in Rome on the 2nd of July 1876. He studied law at Pavia, and took the degree of doctor in 1831. A follower of Romagnosi (d. 1835) and Giovan Battista Vico (q.v.), his first works were an article in the Biblioteca Italiana entitled “Mente di Gian Domenico Romagnosi” (1835), and a complete edition of the works of Vico, prefaced by an appreciation (1835). Finding Italy uncongenial to his ideas, he went to France and, in 1839, produced in Paris his Vico et l’Italie, followed by La Nouvelle Religion de Campanella and La Théorie de l’erreur. On account of these works he was made Docteur-ès-lettres of the Sorbonne and professor of philosophy at Rochefort (1840). His views, however, provoked antagonism, and in 1842 he was appointed to the chair of philosophy at Strassburg. After fresh trouble with the clergy, he returned to Paris and published a defence of his theories in a work entitled Idées sur la politique de Platon et d’Aristote. After a short connexion with the college at Bourges, he devoted himself from 1849 to 1858 exclusively to writing. The works of this period are Les Philosophes Salariés, Machiavel juge des révolutions de notre temps (1849), La Federazione repubblicana (1851), La Filosofia della rivoluzione (1851), L’ Italia dopo il colpo di Stato (1852), Histoire des révolutions, ou Guelfes et Gibelins (1858; Italian trans., 1871–1873). In 1859 he returned to Italy, where he opposed Cavour, and upheld federalism against the policy of a single Italian monarchy. In spite of this opposition, he held chairs of philosophy at Turin, Milan and Rome in succession, and during several administrations represented the college of Gavirate in the chamber. He was a member of the council of education and was made senator on the 15th of May 1876. Amongst other works may be mentioned Histoire de la raison d’état, La China et l’ Europa, Corso d’ istoria degli scrittori politici italiani. A sceptic in philosophy and a revolutionist in politics, rejoicing in controversy of all kinds, he was admired as a man, as an orator, and as a writer.
See Marro Macchi, Annuario istorico italiano (Milan, 1877); Mazzoleni, Giuseppe Ferrari; Werner, Die ital. Philosophie des 19. Jahrh. vol. 3 (Vienna, 1885); Überweg, History of Philosophy (Eng. trans. ii. 461 foll.).
FERRARI, PAOLO (1822–1889), Italian dramatist, was born at Modena. After producing some minor pieces, in 1852 he made his reputation as a playwright with Goldoni e le sue sedici commedie. Among numerous later plays his comedy Parini e la satira (1857) had considerable success. Ferrari may be regarded as a follower of Goldoni, modelling himself on the French theatrical methods. His collected plays were published in 1877–1880.
FERREIRA, ANTONIO (1528–1569), Portuguese poet, was a native of Lisbon; his father held the post of escrivão de fazenda in the house of the duke of Coimbra at Setubal, so that he must there have met the great adventurer Mendes Pinto. In 1547–1548 he went to the university of Coimbra, and on the 16th of July 1551 took his bachelor’s degree. The Sonnets forming the First Book in his collected works date from 1552 and contain the history of his early love for an unknown lady. They seem to have been written in Coimbra or during vacations in Lisbon; and if some are dry and stilted, others, like the admirable No. 45, are full of feeling and tears. The Sonnets in the Second Book were inspired by D. Maria Pimentel, whom he afterwards married, and they are marked by that chastity of sentiment, seriousness and ardent patriotism which characterized the man and the writer. Ferreira’s ideal, as a poet, was to win “the applause of the good,” and, in the preface to his poems, he says, “I am content with this glory, that I have loved my land and my people.” He was intimate with princes, nobles and the most distinguished literary men of the time, such as the scholarly Diogo de Teive and the poets Bernardes, Caminha and Corte-Real, as well as with the aged Sá de Miranda, the founder of the classical school of which Ferreira became the foremost representative.
The death in 1554 of Prince John, the heir to the throne, drew from him, as from Camoens, Bernardes and Caminha, a poetical lament, which consisted of an elegy and two eclogues, imitative of Virgil and Horace, and devoid of interest. On the 14th of July 1555 he took his doctor’s degree, an event which was celebrated, according to custom, by a sort of Roman triumph, and he stayed on as a professor, finding Coimbra with its picturesque environs congenial to his poetical tastes and love of a country life. The year 1557 produced his sixth elegy, addressed to the son of the great Albuquerque, a poem of noble patriotism expressed in eloquent and sonorous verse, and in the next year he married. After a short and happy married life, his wife died, and the ninth sonnet of Book 2 describes her end in moving words. This loss lent Ferreira’s verse an added austerity, and the independence of his muse is remarkable when he addresses King Sebastian and reminds him of his duties as well as his rights. On the 14th of October 1567 he became Disembargador da Casa do Civel, and had to leave the quiet of Coimbra for Lisbon. His verses tell how he disliked the change, and how the bustle of the capital, then a great commercial emporium, made him sad and almost tongue-tied for poetry. The intrigues and moral twists of the courtiers and traders, among whom he was forced to live, hurt his fine sense of honour, and he felt his mental isolation the more, because his friends were few and scattered in that great city which the discoveries and conquests of the Portuguese had made the centre of a world empire. In 1569 a terrible epidemic of carbunculous fever broke out and carried off 50,000 inhabitants of Lisbon, and, on the 29th of November, Ferreira, who had stayed there doing his duty when others fled, fell a victim.
Horace was his favourite poet, erudition his muse, and his admiration of the classics made him disdain the popular poetry of the Old School (Escola Velha) represented by Gil Vicente. His national feeling would not allow him to write in Latin or Spanish, like most of his contemporaries, but his Portuguese is as Latinized as he could make it, and he even calls his poetical works Poemas Lusitanos. Sá de Miranda had philosophized in the familiar redondilha, introduced the epistle and founded the comedy of learning. It was the beginning of a revolution, which Ferreira completed by abandoning the hendecasyllable for the Italian decasyllable, and by composing the noble and austere
