VITALE urn ; Carlo Bonone, S. M. in Vado, Ferrara ; Callisto da Lodi, S. M. Calchera, Brescia ; Lodovico Carracci, S. Domenico, Bologna ; Domeuichino, Cappella Nolfi, Fano ; Garo- falo, Palazzo Doria, Borne ; Luca Giordano, Vienna Museum ; Guercino, Rouen Muse- um ; Carlo Maratti, S. M della Pace, Rome ; Giovanni Maria Morandi, Uffizi, Florence ; Bernardino Naldini, Duomo, Florence ; Er- cole Procaccini, Naples Museum ; Andrea Vicentino, Uffizi, Florence ; Vicente Joanes, Madrid Museum, Carlsruhe Gallery ; Vin- cenzo Carducho, Madrid Museum. VITALE DA BOLOGNA, early part of 14th century. Bolognese school. A Ma- donna signed and dated 1320 is in the Bo- logna Gallery. Another, engraved by D'A- gincourt, was dated 1345. A third, signed by him without date, is in the Museo Cris- tiano of the Vatican. He was a second- rate painter, who imitated the affected ten- derness and delicacy of the Umbrians and displayed the mechanical attainments of a miniaturist. C. & C., Italy, ii. 207 ; Vasari, ed. Le Mon., iii. 4t ; Ch. Blanc, cole bolo- naise, Introd., vi. ; Burckhardt, 518. VITALIS, PAPIRIUS, Roman painter, date unknown. Fabretti, Inscr., 235, No. 622 ; R.-R, Schorn, 425. VTTE, TIMOTEO, or Timoteo da Urbino, born in Ferrara in 1469, died in Urbino, Oct. 10, 1523. Urnbrian 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 re- calls 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 Trinita, Urbino. As Raphael's assistant he painted the Prophets, in the Church of the Pace, Rome, and the draper- ies of Raphael's Sibyls below them. The Madonna di S. Luca, Academy of St. Luke, Rome, attributed to Raphael, is now as- cribed 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 Mou., viii. 146 ; ed. MiL, iv. 489 ; Ch. Blanc, ficole ombrienne ; Lttbke, Gesch. itaL Mai., i. 453. VIVARINI or VIVARINO, ANTONIO. See Antonio da Murano. VIVARINI, BARTOLOMMEO, Venetian school ; last half of 15th century. Associ- ated 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 after- wards celebrated name of Vivarini. In 1465 he painted a Madonna with Saints, now in the Naples Museum, in which Venetian and Paduau 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 exe- cuted many works, but never rose again to his best standard, and sank gradually into
