18 Ferrata, Ercole

Ercole Ferra ta: St A g//es o/1 the I),,, marble, over Li fe-size, begun 1660 (Rome, S Agnese in /\gone)

In the last 15 years or so of h.i s life Ferrata's work became extremely planar. The over life-size figure of Eterni ty on the tomb of Cardinal Bonelli (before 1674; Rome, S Maria sopra J\llinerva) is designed so that the head, shoulders and hips are twisted into the same plane. Th.is flatness is more exaggerated in the under life-size marble figure of Time on the tomb of llifo11sig1101· Giulio de! Cor1111 (before 1686; Rome, Gesu e Maria) and in the marble relief of St R omano on his Bier (1685-6), placed beneath th e high altar ofNepi Cathedral. Also in th.is late period Ferrara produced the marble statue of St Elizabeth (1679-83) for th e altar of Cardinal Friedrich von Hessen's mortuary chapel in Breslau (now Wroclaw) Cathedral. Th.is was a reworking of h.i s design fo r St Agnes 011 the I)re and one of his most important independent commissions.

Ferrata ran an important studio, where he trained a number of sculptors, incluclingMelch.iorre Caffa, G iovairn.i Battista Foggini, Carlo Andrea Marcellini and Camillo Rusconi. In add.it.ion, from 1667 he and Ciro Ferri in­structed young Florentine artists studying in Rome at the Accadeniia Fiorentina under the sponsorship of Cosimo III, Grand Duke of Tuscany. Though financially success­ful , Ferrara was not a first-rate designer: he either imitated Algarcli or used designs provided by h.is leading pupil, Caffa. At Caffa's death in 1667, Ferrara completed his pupil's most important commissions, the relief of the lilf.ar(yrdo111 of St E11stace (1660-72; Rome, S Agnese in

Agone) and the Charity of St Thomas of Villanova (1662-Tl ; Rome, A Agostino, Pamphili Chapel).

BIBLIOGRJ\ PH Y F. Baklinucci : i\lotizie (1681-1 728) ; ed. F. Ranalli (1845-7) L. Pascoli: Vite ( 1730-36), i, pp. 237-47 V. Golzio: Seicento e setlecenlo (Turin, ·1950, rev. 2/ 1960), pp . 209-15 R. \\?ittkower : Gia11 Lornnzo Bemini: The Smlptor of the Ro111an B"roq11e

(London, 1955, rev. 2/ 1961 ), pp. 20, 34 L. lvlontal to: 'Ercole Ferm ta e le vicende litigiose del basso ii lievo di

Sant'Emerenziana', Co111111enta1i, vi ii Cl 957), pp. 47-68 A Nava-Cellini: 'Contribui to al periodo napoletano cli Ercole Ferrata ',

P"mgone, xii/ 137 (1961 ), pp. 37-44 M. \Xleil: The Histo,y 1111d D ecoration of the Ponte S A ngelo (University

Park, 1974), pp. 81-4, 145- 7 R. Preimesberger and M. \XleiJ : 'The Pamphili Chapel in Sant'Agostino',

Rii111. Jh. Kstgesch., xv ( 1975), pp. 183-98 J. Montagu: A lessandro A lgrmli, i (New Haven, 1985), pp. 46-8, 208-11 ,

216-17 [with extensive bibliog.] - : Ro111nn Baroq11e Sc11!pl111e: The Ind11st1y of A d (New Haven, 1989)

iVIJ\ RK S. WEIL

Ferrazzi, Ferruccio (b Rome, 15 March 1891; d Rome, 8 D ec 1978). Italian painter and sculptor. H e began as an assistant to his sculptor father, Stanislao Ferrazzi (d 1943), and attended the Senoia Libera de! N udo (1905-8) and from 1908 snidied under Max Roeder (1866-1947) at the Ist.inito di Belle Arri in Rome. Success came early when The Hearth (1910 ; Rome, G.N.J\. Mod. ), influenced by Giovanni Segant.ini, was bought by the state at the Espo­sizione Universale, Rome (1911) . H e assimilated French influences in Paris in 191 3, adopting freer brushwork and shaped canvases and roughening his sculptures' surfaces (e.g. The Lovers, clay, 1915; destr.; see Raggh.iant.i, pl. 30) . In 1916 he visited MontreLL,, where he discovered the work of Cezanne. Ferrazzi subsequently destroyed many early works and embarked on a rich period of classicism, with such Ingresque nudes as Nleny L ife No. 2 (1922 ; Rome, Pal. Braschi). Mannerist fan tasy infused tl1e por­trayal of his wife as a Madonna in Noct11mal F estival (1921-3; priv. col. , see Ragghiant.i, pl. 107), which estab­lished Ferrazzi's maturity with.in the Scuola Romana. A series of psychologically piercing portraits followed, intro­ducing a crystalline symbolism, while he won international recognition when Tragic V1zyage (1925; Pittsburgh, PA, Carnegie Mus. A.) was exhibited in New York in 1926. In the later 1920s Ferrazzi painted increasingly frenzied and clisnubing symbolic animal subjects at Casalaccio di Tivoli. Official commissions fo llowed his appointment as Profes­sor of D ecoration at the Accademia di San Luca in Rome in 1929. These included tl1e lengthy A poca!Jlpse mosaic project (1933-54; Acqui, Ottolenghi Mausoleum). The horrors of World War II and his fatl1er's deatl1 sparked a psychological crisis tl1at resulted in nightmarish images (e.g. Y ears of rlon m'-The Roo111, 1943-6; priv. col. , see Ragghiant.i , pl. 200), but he subsequently resumed mural painting, producing, for example, encaustics for S Bene­detto, Rome (Life of St B enedict; 1949).

BlBLJOGRAP HY C. L. Ragghianti , J. Recupero and N . C. Ferrazzi: Femtccio Fe,rnzzi

(Rome, 1974) MATT HEW G t\LE

Ferreira, Gaspar (.fl Coimbra, 1718-61). Portuguese architect, bLiilder and designer. His name is first recorded in 1718 at Coimbra as master of works fo r the university

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and responsible for planning its buildings over the large area under its control. H e directed the construction of the magnificent University Library (1718-25), including the great bookcases, a work of superb quality (designer mknown). H e was self-taught, and in carrying out the plans and designs sent from Lisbon he acquired the knowledge that is reAected in his later work. H e was renmvned in the provincial region of Beira, where he encouraged the use of architectural form s closer to those employed in the centres of Coimbra and Lisbon. H e advised on the restoration of Viseu Cathedral ,vhere he designed the organ case (1720), th e twin ret;bles of St J ohn and St Peter and the pulpits (all 1721), inspired by the bookcases of the Coimbra University Library. His designs for the scheme at the Ivfiseric6rdia, Mangualde (c. 1722), although harmonious, still retain provincial elements. His plans for the university tower at Coimbra (1728) were rejected, although he was responsible for supervising the project after designs sent from Lisbon.

The high technical quality of Ferreira's work led in 1731 to commissions from the wealthy canons of Santa Cruz, Coimbra. In 1732 he returned to Viseu, where he super­vised the remodelling of the high altar of the cathedral after the designs (1729) by Santos Pacheco de Lin1a. He also designed furni shings for the cathedral at Viseu including th e choir-s taUs, in exotic wood and partly gilded (1733-4 ), which are similar to the design (1726) of those 111 Oporto Cathedral by Luis Pereira da Costa and Miguel Marques and which are a fine example of Joanine wood­carving; their attribution is facilitated by tl1eir similari ty to the episcopal throne of Guarcla Catl1eclral. Ferreira also worked fo r the Sta Maria Cistercian nunnery at Arouca carrying out improve1;ents to the dormitories and design~ mg a new repository (c. 1735); and it is possible that he supervised the building of tl1e convent church (1704-18), after tl1e design by Carlos Gimac, in which tl1e hard local granite is softened by the use of delicate mouldings. In 1737, perhaps tl1rough his work for tl1e same hospital of chant)' at Mangualcle, he was com missioned to build the Miseric6rclia at Sta Camba, D ao.

From 1737 he executed tl1e plans by Carlos Marciel for the great cloister of Sta Clara-a-Nova, Coimbra, an exten­sive work tl1at probably occupied him for several years. He collaborated on tl1 e remodelling of the convent at Lorvao (1742-61 ). Between 1752 and 1754 he was working on the reconstruction of the fas;acle of the hospital at Montemor-o-Vell10, where he combined exis ting elements witl1 details, such as the more evolved and elegant design for the portal-wmdow, tl1at are given particular delicacy by tl1e use of the local whi te limestone. For Sta Clara-a­Nova, Coimbra, he supervised tl1e building of the elegant Baroque portal (1761) to a design of Central European ong111 by Carlos Marciel. The skill o f this provincial mas ter of works is evident in his ability to interpret plans for arclutecniral projects that had been commiss ioned by the state in Lisbon.

BJBLIOGRI\PHY t\. N?gueirn Goncalves: /J11 1e11lririo m1irtico de P01t11gal: Cirlnrle rle Coi111hm

(Lisbon, 1947), pp. 82-3, '105-6 Dislrilo de Coil)Jhm (Lisbon, I 953), pp. 139, 194-5, 198 R. C. Smith : Cadeirais de Po1t11gal [Cho ir-stalls of Po rtugal] (Lis bo n,

1968), pp. 60-61 . P . Dias: Mosleiro de Aro11c1r (Coimbrn, 1980), pp. 19-20

Ferrer, Rafael 19

A. A1ves: 'A activiclade de Gaspa.r Ferreira em terrns do interio r beir:io' [The activity of Gaspar Ferrei.ra in the Beira i:egion] , 1lif11nrlo ..-Ll ., vi ( I 982), p. 217 .

Coi(l(hm, fllie e his/6,i" (Oporto, 1983) N . C?rreia Borges: rlisltirin da mtc 0111 Po,111gnl: Do bmroco 110 rococd, ix

(L isbon, 1986), pp. 26-7 Coi(l(hm e rngiiio (Lisbon, 1987), pp. 74-5, 182

ANTONIO FILIPE PIMENTEL

Ferreira, Jes1'.is Reyes. See REYES FElUU::lRA, J ESUS.

Ferreira, Simao (h Coimbra ; _,fl 1588-1607). Portuguese silver- and goldsmith. A carta de p rivi/egio dated 21 March 1588 and signed by the rector of Coimbra University granted him tl1e privileges enjoyed by professors and students of the university. Anotl1er document (Coimbra, Registo Camara Nhm.) of the Municipality of Coimbra appointed 'Simao Ferreira, silversmith and resident in tl1e cit), of Coimbra' to make 'all things necessary' for its chapel and for the churches in that diocese and in those of Oporto and Lamego. Two magnificent pieces by him survive 111 the chapel of Coimbra University ( witl1 relevant documents in tl1e Universit)' archive recording the com­m1ss1ons and tl1e expenses involved): an imposing lamp, completed 111 October 1597, and a fine jewelled chalice in silver gilt, which he undertook to execute in a letter o f 28 August 1601. Other pieces commissioned from him by the University-two jewelled crowns, a monstrance, two tlrnribles, an incense boat, another lamp and a holy-water stoup, all executed between 1593 and 1606-have not survived. From later inventories it is known tl1at many of these works were melted down in the second half of the l 8tl1 century. On the basis of tl1e technical and st)rlistic quali ty of his surviving work, however, Ferreira can be identified as one of the most important Portuguese master silver- and goldsmitl1s of the late 16th century and early 17th.

BIBLIOGRAPHY A. Vasconcelos : R en/ Cape/a da U 11iuenidnde de Coil)Jhm (Coimbrn, l 908),

pp. '102, 129 J. :M. Teixeira de Ca.rvalho: 'Ourives de Coimbra', /nsti/11/0, !xvi.ii ('192'1 ),

pp. 195-202 L. Costa: A ,1istnspo1111g11cses(Oporto, 1922) V. Co rreia and A. N . Go n,alves : Cidndc de Coil)Jhm (l 947), ii of /11ue11/d1io

"liislico de Po1t11gc,I (Lisbon, 1943-)

MARIA LEONOR D 'OREY

Ferrer (Garcia), Rafael (Pablo Ramon) (h Santurce, Puerto Rico, 1933). Puerto Rican painter and sculptor. In 1952 he entered Syracuse Universit)', NY, to snidy for a liberal arts degree and there began to paint, influenced by tl1e Cubist works of Picasso and Brague. After only 18 montl1s he went to tl1e Universidad de Puerto Rico where he studied painting under the French Surrealist 'painter Eugerno Granell ( h 191 2). Through Gran ell, Ferrer be­came acquainted witl1 Dada and Surrealism and in 1953 was introduced by him to Andre Breton and Wilfredo Lam, and to tl1e writer Benjamin Peret in Paris. After tl1ree months in Paris he went to New York, where he worked as a drummer while continuing to paint. He returned to Puerto Rico in 1960 and the following year had a contro­versial two-man show with tl1e Puerto Rican painter Rafael 'Chafo' Villamil at the museum of the Universidacl de