del Vaga in Rome, and diligently copied the works of Raphael. Took high rank among the Neapolitan artists, and executed many works for churches. An Adoration of the Magi and a Madonna with Saints (triptych), and a Martyrdom of St. Stephen, are in the Naples Museum. His younger brother, Giovanni Angelo (died about 1573), pupil of Marco da Siena, was also a painter of considerable talent, and left some good pictures in Naples churches.—Lanzi, ii. 23, 26; Ch. Blanc, École napolitaine.
CRISTO DEI CAPPUCCINI. See Crucifixion,
Guido.
CRISTO DELLA MONETA. See Tribute
Money.
CRISTOFORO DA PARMA. See Caselli,
Cristoforo.
CRISTUS, PETRUS, (Pieter Christophsen),
born at Baerle near Deynze, Belgium,
about 1400, died in Bruges, after 1472.
Flemish school; probably pupil of Jan van
Eyck, whose style he imitated. Bought
freedom of Bruges, July 6, 1444, registered
in guild of St. Luke in 1450, and in 1469
was one of the notables. In March, 1472,
he officiated as umpire for the guild in a
dispute with Pierre Constain, the ducal
painter. Works: Portrait of Edward Grimston
(1446), Earl of Verulam, England; Madonna
and Saints (1447), Städel Institute,
Frankfort; St. Eloi and the Bridal Pair
(1449), Oppenheim Gallery, Cologne; Altar
wings (1452)—Annunciation, Birth of Christ,
and Last Judgment (1452)—and Portrait of
a Lady, Berlin Museum; Altar wings—Crucifixion,
Last Judgment—Hermitage, St.
Petersburg; Madonna, Turin Gallery; picture
in four compartments—Annunciation,
Visitation, Nativity, and Adoration of Magi—Madrid
Museum; Kneeling Figure and
Saint, Copenhagen Gallery; portrait of
Marco Barberigo, National Gallery, London,
attributed to G. van der Meire (?).—Allgem.
d. Biogr., iv. 598; Biog. nat. de Belgique,
iv. 505; C. & C., Flemish Painters, 135;
Dohme, li.; Michiels, ii. 243, 364, 395; iii.
420; W. & W., ii. 25.
CRIVELLI, CARLO, born in Venice about
1430-40, died after 1493. Venetian school;
pupil of Antonio and Bartolommeo da Murano,
whose studio he entered probably
about 1450. Settled in Ascoli; as early as
1468 began to paint exclusively in the cities
of the Marches, and laboured there to the
end of his days. In 1490 he was knighted
by Prince Ferdinand of Capua, but this did
not affect the steady exercise of his profession.
He was a painter of remarkable talent,
fond of elaborate detail, never careless
in work, and as conscientious as he was
skilful. At times he painted with the mystic
feeling of Angelico, but his figures are
often exaggerated in action and mannered
in style. Crivelli never abandoned the system
of tempera in which he had been
taught, and while other artists were trying
oils, worked on in the old method with great
energy and success. No pictures of the
period have better resisted the ravages of
time than his, as numerous examples in the
Brera at Milan, the Berlin Museum, the
Vatican, the Kensington Museum, the National
Gallery, and Dudley House, London,
testify. Among his best works are: Madonna
della Rondine, Madonna with Saints
(1476), Madonna and Saints (1482), Brera,
Milan; Annunciation (1486), National Gallery,
London; Madonna with Saints, Dudley
House; and Pietà, Vatican.—C. & C.,
N. Italy, i. 82; Burckhardt, 591; Seguier,
51; Ch. Blanc, École vénitienne; Lübke,
Gesch. ital. Mal., i. 519.
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CRIVELLI, LUCREZIA. See Belle Féronnière.
CRIVELLI, VITTORIO, Venetian school,
end of 15th century. A kinsman and mediocre
imitator of Carlo Crivelli; earliest effort
a rudely executed picture (1481) at Fermo,
latest works (1489-90) at Monte San Martino.
Other paintings executed in the interval
may be seen at Bologna, Palermo,
Massa, Milan in the Brera, and London in
