200 VINCI— VITE. tirh de set JIfanvscrUs apportes de PTtalie, Paris, 1797. These writings, in which many important modem dis- ooveries are .anticipated, have drawn the following high eulogy firom Mr. Hallam — "If any douht could he har- houred, not as to the right of Leonardo da Vinci to stand as the first name of the fifteenth centnry, which is heyond all doubt, but as to his originality in so many discoveries, which probably no- one man, especially in such ciroum- stances, has ever made, it must be on an hypothesis, not vexy untenable, that some parts of physical science had already attained a height which mere books do not record." — Literature of Europe, Works, Florence, Uffi^, his own Portrait; the Head of Medusa; Adora- tion of the Magi : Pitti Palace, female Portrait (Ginevra Benci?). Home, Palazzo Barberini, Modesty and Va- nity; Sant* Onofrio, the Virgin and Child (fresco). Parma, Sanvitali col- lection. Virgin, marked Leonardo Vinci Fece, 1492. Milan, Santa Maria delle Grazie, the Last Supper (defaced): Brera, the Virgin and Child, with a Lamb ; Head of Christ (drawing) : Biblioteca Ambrosiana, Portraits of JLodovico U Moro, and the Duchess Beatrice; six Portraits in crayon: Palazzo Litta Visconti Aresi, Virgin and Child : Palazzo Belgiojoso, Virgin and Child : San Francesco, the Con- ception : Sant' Eustorgio, the Baptist Paris, Louvre, St. John the Baptist; the Virgin in the lap of St. Anne ; the Infant Christ fondling a Lamb (very similar to the London cartoon, and other pictures in different European collections, attributed to Leonardo or his scholars) ; Virgin and Child ; St. John and an Angel (La Vierge aux Bochers) ; Mona Lisa, or La Joconde (a Florentine lady, the third wife of Francesco del Giocondo, painted about 1500-5): Vasari says it occupied Leo- nardo, occasionally, during four years : there are several old copies of this pic- ture generally all attributed to Leonar- do; a female Portrait (La Belle Feron- ni^re, mistress of Francis I. ?) ; Bac- chus. Madrid, Prado, Holy Family. Several pictures in the Gallery of Vienna were formerly attributed to Leonardo, but are now described as of his school only. Gallery Esterhazy, three Saints. Dresden Gallery, Lodo- vico Sforza? Munich, Pinacothek, St« Cecilia; the Virgin and Child. Augs- burg, female Portrait Pommersfelden, Virgin and Child. Hanover, Leda? St Petersburgh, Holy Family ? Eng- land, National Gallery, Christ dis- puting with the Doctors ; a similar pic- ture is in the Palazzo Spada at Bome : Royal Academy, cartoon of St. Anne ; Last Supper : Windsor, Boyal library, three volumes of drawings, anatomical and general studies. In the private collections of England are many works attributed to this great painter, some probably genuine, others of his school only. {Vasctri, Lomazzoj Amoretti^ Oayej De Lahorde, Rigollot^ Jfundler^ Watigen,) VITE, TmoTEO della., or db* Vm, called also Tihoteo da Ubbiko, b, 1469, d, October 10, 1523. Umbrian School. He was originally a jeweller, and the scholar for nearly five years of Francia, at Bologna, but he returned to Urbino in 1495. He appears first as a painter at Urbino in 1503, when he painted the arms of Cesare Borgia on the gates of the town. He executed several works at Urbino, some in the cathedral in ooi^unction with Barto- lomeo Genga and others, together with Maestro Evangelista. He is said also to have assisted Raphael in the frescoes of the Sibyls, or rather the Prophets, in the Chiesa della Pace at Rome, painted about 1519. He returned, however, very shortly to Urbino, much, saya Vasari, to Raphael's displeasure^
