Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/405
- um; Carlo Bonone, S. M. in Vado, Ferrara;
Callisto da Lodi, S. M. Calchera, Brescia; Lodovico Carracci, S. Domenico, Bologna; Domenichino, Cappella Nolfi, Fano; Garofalo, Palazzo Doria, Rome; Luca Giordano, Vienna Museum; Guercino, Rouen Museum; Carlo Maratti, S. M. della Pace, Rome; Giovanni Maria Morandi, Uffizi, Florence; Bernardino Naldini, Duomo, Florence; Ercole Procaccini, Naples Museum; Andrea Vicentino, Uffizi, Florence; Vicente Joanes, Madrid Museum, Carlsruhe Gallery; Vincenzo Carducho, Madrid Museum.
VITALE DA BOLOGNA, early part of
14th century. Bolognese school. A Madonna
signed and dated 1320 is in the Bologna
Gallery. Another, engraved by D'Agincourt,
was dated 1345. A third, signed
by him without date, is in the Museo Cristiano
of the Vatican. He was a second-rate
painter, who imitated the affected tenderness
and delicacy of the Umbrians and
displayed the mechanical attainments of a
miniaturist.—C. & C., Italy, ii. 207; Vasari,
ed. Le Mon., iii. 41; Ch. Blanc, École bolonaise,
Introd., vi.; Burckhardt, 518.
VITALIS, PAPIRIUS, Roman painter,
date unknown.—Fabretti, Inscr., 235, No.
622; R.-R., Schorn, 425.
VITE, TIMOTEO, or Timoteo da Urbino,
born in Ferrara in 1469, died in Urbino,
Oct. 10, 1523. Umbrian school; son of
Bartolommeo di Pietro Vite. Brought up
a goldsmith, but painted with Francia in
Bologna in 1491-95, and settled as a master
at Urbino. About 1519, or perhaps a little
before, he became Raphael's assistant in
Rome, remaining there until Raphael's
death (1520), when he probably returned to
Urbino. The most important of his works
is the altarpiece (1504), Duomo, Urbino.
The outline and modelling are precise and
careful in finish, and the drapery is good,
but the effect is cold and chilling. Vite recalls
Francia and Pinturicchio, though much
inferior to them. A Madonna with Saints,
Brera, Milan, is of this period. As he grew
older he adopted the Raphaelesque style, as
shown in the figure of St. Apollonia in the
Santissima Trinità, Urbino. As Raphael's
assistant he painted the Prophets, in the
Church of the Pace, Rome, and the draperies
of Raphael's Sibyls below them. The
Madonna di S. Luca, Academy of St. Luke,
Rome, attributed to Raphael, is now ascribed
to him. To this period also belongs
his Magdalen, Bologna Gallery.—C. & C.,
N. Italy, i. 567, 577; Burckhardt, 586, 660,
684; Vasari, ed. Le Mon., viii. 146; ed.
Mil., iv. 489; Ch. Blanc, École ombrienne;
Lübke, Gesch. ital. Mal., i. 453.
VIVARINI or VIVARINO, ANTONIO.
See Antonio da Murano.
VIVARINI, BARTOLOMMEO, Venetian
school; last half of 15th century. Associated
in 1450 with his brother Antonio
da Murano, with whom he had probably
studied, but soon left him and founded
a separate studio. In his first works he
signs himself Da Murano, but in 1459,
when he produced his St. John Capistrano,
now in the Louvre, he had taken the afterwards
celebrated name of Vivarini. In
1465 he painted a Madonna with Saints, now
in the Naples Museum, in which Venetian
and Paduan elements are commingled, but
the latter predominates in his later works.
After the introduction of oil-painting into
Venice by Antonello da Messina in 1470,
Bartolommeo was the first to adopt the new
method in two altarpieces, one of 1473 in
SS. Giovanni e Paolo, Venice (in parts, one in
the transept and one in the sacristy), and
the other, of 1474, St. Mark between Four
Saints, in S. M. de' Frari, Venice. To paint
these fine works he must have studied the
best creations of Mantegna, whom he often
resembles in accurate execution, though he
is generally colder in colour. The later
pictures of Bartolommeo show the hand of
assistants and are of unequal value. Of
these, the St. Ambrose between Four Saints
(1477), in the Vienna Museum, is a good
example. Between this and 1499 he executed
many works, but never rose again to
his best standard, and sank gradually into