Page:Cyclopedia of painters and paintings (IA cyclopediaofpain04cham).pdf/406

 comparative obscurity. Among his later works is St. George and the Dragon (1485), Berlin Museum.—C. & C., N. Italy, i. 39; Burckhardt, 589, 590, 623; Ch. Blanc, École vénitienne; Vasari, ed. Le Mon., vi. 86, 102, 126; ed. Mil., iii. 666; Lermolieff, 397; Lübke, Gesch. ital. Mal., i. 514.

VIVARINI, LUIGI or ALVISE, the elder, Venetian school, beginning of the 15th century. A Christ bearing His Cross, in the sacristy of S. Zanipolo, Venice, has his signature, with the date 1414. The picture has been so much repainted that the authenticity of the inscription has been doubted by many. Lermolieff and Crowe and Cavalcaselle doubt the existence of an elder Luigi, and the latter believe it to be the work of Luigi Vivarini who lived at the close of the 15th century, following in this Lanzi and others. Charles Blanc, however, who thinks the date authentic, and believes in the existence of an elder Luigi, is supported in his belief by Ridolfi, Zanetti, and Zanotto. There are several single figures of saints attributed to the elder Luigi in the Venice Academy.—C. & C., N. Italy, i. 19, 58; Vasari, ed. Mil., iii. 159; Ch. Blanc, École vénitienne; Lermolieff, 396.

VIVARINI, LUIGI, the younger, Venetian school, last of 15th century, died in 1503? He was a kinsman of Bartolommeo Vivarini, and probably studied either under him or with Antonio da Murano, his elder brother. His style for many years is marked with the Muranese stamp, but when Bartolommeo's powers began to decline, Luigi crept up gradually to an imitation of the Bellini, and in many qualities soon rivalled Giovanni Bellini. One of the best examples of his earlier works is the Madonna with Saints (1480), now in the Venice Academy. It shows correct aerial and linear perspective and the proper distribution of figures, and proves that he needed but a little more taste for colour, more delicacy of selection, and greater versatility, to equal his rivals. In 1488 he was employed with the brothers Bellini in the decoration of the Sala del Gran Consiglio, but the fire of 1577 unfortunately destroyed his works. While engaged in this he also executed important private works, the three largest and latest of which are a Madonna with Saints, Berlin Museum; Madonna with Saints and Angels (1501), same gallery; and the Apotheosis of St. Ambrose in the Frari, Venice, finished after Luigi's death, by his pupil Basaiti.—C. & C., N. Italy, i. 52; Vasari, ed. Mil., iii. 159; Ch. Blanc, École vénitienne; Lermolieff, 398; Lübke, Gesch. ital. Mal., i. 517.

VIVIEN, JOSEPH, born at Lyons in 1657, died at Bonn, Dec. 5, 1735. French school; portrait painter, especially in pastel, pupil of Le Brun in Paris, where he went in 1677. Acquired such reputation that all persons of note in Europe wished to be painted by him. His portraits are excellent likenesses and of fine execution. Member of Academy, 1701; Counsellor, 1703. Court painter to Elector of Cologne. Works: Adoration of the Magi (1698), Notre Dame de Paris; Elector Max Emanuel of Bavaria, Duke of Burgundy, Sculptor Girardon, three others, Musée des dessins, Louvre; Portraits of Fénélon, and the Engraver Edelinck (attributed), Versailles Museum; Cardinal Joseph Clement of Bavaria, Elector of Cologne, Valenciennes Museum; others in Museums at Metz and Rouen; Duke Ferdinand Maria of Bavaria, Darmstadt Museum; Fénélon, The Artist, Old Pinakothek, Munich; Philip V. of Spain, Dukes Charles de Berry, Louis of Burgundy, Max Emanuel of Bavaria (2), eight others, Schleissheim Gallery; Portrait of himself, Uffizi, Florence.—Bellier, ii. 698; Ch. Blanc, École française, iii.; Jal., 1278.

VLERICK, PEETER, born at Courtrai in 1539, died at Tournai in 1581. Flemish school; history painter, pupil of Charles