Page:Cyclopedia of painters and paintings - Volume I.djvu/393

 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.

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