VITE— VIVARINI. 201 In some of his latest works Timoteo displays the influence of Raphael ; his earlier works are in the more re- stricted style of Francia, but miequal to that master. Timoteo was also a miniature-painter. His brother Pietro, also a painter, is probably the Prete di Urbino, who was one of Haphael's heirs, according to Baldinucci. Works. Milan, the Brera, in tem- pera^ the Annunciation, with John the Baptist and St. Jerome. Rome, Santa Gaterina da Siena, frescoes. Urbino, Sma. Trinita, Sant* Appolonia: the cathedral (in the sacristy), St. Martin Pope and St. Martin Bishop (1504) : in the oratory of San Giuseppe, a Holy Family. Bologna Gallery, the Mag- dalen (o. 1508). Cagli, Sant' Angelo ; the risen Saviour, with the Magdalen {noli me tangere). Berlin Museum, a Madonna, enthroned; and a St. Jerome. {Vcuarij Pungileoni, Luzari,) VIVARINI, Antonio, called also Antonio da Mubano, painted 1444-51. Venetian School. Scholar of Andrea da Murano, and probably of the family of Luigi Vivarini of Murano. He painted several works in company with Joannes de Alemania, and with his own brother Bartolomeo Vivarini. His paintings are distinguished by a pecu- liar softness, and are well drawn for their time; the tints are rich and well blended ; there is an excellence in the colouring of the flesh hitherto un- known, says Eugler. This is assum- ing him to be older than Bartolomeo. The Berlin Gallery contains an En- tombment, and an Adoration of the Kings by Antonio ; and in the Venetian Academy is a work painted in conjunc- tion with Joannes de Alemania ; it is inscribed Cfio. di Alemagna e Antonio da Murano; the subject is the Virgin, enthroned, surrounded by the four doctors of the church. Giovanni is the Giovanni Vivarino of Zanetti ; another -picture is signed Giovanni ed Antonio da Murano, and reprosents a Corona- tion of the Virgin ; it was formerly in the church of San Stefano at Venice. (Lanzi,) VIVARINI, Babtolomeo, painted in 1464-08. Venetian School. He is distinguished as having painted the first so called oil-picture publicly exhi- bited in Venice ; that is, after the in- troduction of the Van Eyck method into Italy by Antonello of Messina. It was painted in the year 1473, shortly after Antonello established himself in Venice. The works of Bartolomeo in the Venetian Academy, display great abihty for their time, in the old quattrocento taste: his figures are dignified and devout in expression, and display considerable individuality. Zanetti suggests that Bartolomeo got Antonello's secret from Gian Bellini; as the date is comparatively early, he had it more probably fh)m Antonello himself; but though the picture al- luded to is the earliest exhibited work in oil, it is not necessarily the earliest picture painted in that method in Venice. Works, Venice, Academy, the Ma- donna and Child ; and pictures of the Baptist; Santa Chiara; SanDomenico; Sant' Andrea; and San Pietro: Santi Giovanni e Paolo, a large altar-piece consisting of nine divisions or pictures, representing Sant' Agostino and other Saints (1478) : Sta Maria de' Frari, an altar-piece; the Madonna and Saints (1487). Berlin Galleiy, the Descent of the Holy Spirit; a Bishop; St George and the Dragon; and a Ma- donna and Child; all, according to Dr. Waagen, in tempera. {Bidolfiy Zanetti, Lanzi). VIVARINI, Luigi, painted in 1490. Venetian School. There appear to have been two painters of this name, but this is doubted by Lanzi. The Vivarini were the scholars of Andrea da Murano, and the two Luigis are
