Page:Biographical catalogue of the principal Italian painters.djvu/233

 202 VIVARINI— ZAMPIERI. assumed from the fact of a picture of Christ bearing his cross, in Santi Gio- vanni e Paolo, being dated 1414 ; while another picture, in the Scuola de' Milanesi ai Frari, bore the following signature, AloUius Vivarinvs de Murano P, 1490. The works of Luigi are some advance upon those of Bartolomeo; they are in that elaborate and rich style of the fourteenth century, though still hard, which was carried to perfec- tion by Marco Basaiti and John Bellini. St. Jerome caressing a lion, from which some monks are flying in fear, in the Scuola di San Girolamo, is noticed by Zanetti as Luigi Yivarini's master-piece; the architectural acces- sories and the perspective generally are superior to their time. In the Academy there are by Luigi a St. John the Baptist; Sant* Antonio Abbate; a San Lorenzo ; and a St. Sebastian ; also an altar-piece which was finished by Marco Basaiti, representing St. Am- brose enthroned, with Saints. In the Berlin Gallery is a Virgin and Child, enthroned, with various Saints and Angels, marked Alowixe Vivarin; and another Madonna, enthroned, with four Saints. (Bidolfi, Zanetti, Lanzu) VOLTEBBA, Danislb da. [Bic- dlBELLI.] VOLTEBBA, Fbancesco da, paint- ed, 1871. Tuscan School. The sub- jects firom the history of Job on the south wall of the Campo Santo at Pisa, and long ascribed to Giotto, are now shown by Dr. Forster to have been executed by Francesco da Volterra, otherwise unknown. These early fres- coes are now much ii^ured; but the Job receiving the consolations of his Friends, still shows a great character; the destruction or carrying off of his •inroperty is inferior, though the animals are well executed. Francesco was pro- bably of the school of Giotto; these works display much of Giotto's style in form: the ezeoation is easy, and the composition and attitudes of the' figures natural and expressive, with a remarkable attention to the individual accessories of costume, and other in- cidents. The expression is powerfully rendered, and the distribution of the parts good. The colouring is red and inferior, and the perspective of the groups defective. {Fanter,) ZAMBONO, or GIAMBONO, MicHELE, living about 1500, Vene- tian School. A painter and worker in mosaic. In the Cappella de* Mascoli, in St. Mark at Venice, is a ceiling in mosaic, representing the life of the Madonna, in which Zambono, says Zanetti, showed himself the first to completely forsake the old Byzantine types. His style resembles that of the Vivarini, of whom he was probably a scholar or imitator. His forms have a softness and elegance at that time quite strange to mosaic, and only equalled in the best works of the Viva- rini. His pictures are very scarce. The Venetian Academy possesses a picture by this painter, an altar-piece, representing Christ and four Saints: it was formerly in the Scuola del Gristo alia Guidecca. In the Berlin Gallery, there is a picture of the Magdalen car- ried to Heaven by six Angels ; a Nnn in the foreground: on a gold ground in tempera. ZAMPIEBI, DouENico, called Do- UENioHiNO, b, at Bologna, October 21, 1581, (L at Naples, April 15, 1641. Bolognese School. The scholar first of Denis Cidvart, he then studied under the Carracci, and is accounted the most distinguished of their school. He went to Bome early in the seven- teenth century by the invitation of Albani, and resided in his house for some time. By his fresco of the Flfr> gellation of St. Andrew, in the church of San Gregorio, painted in competition with Gnido, DomenichiDo ac^iired the