VIVES
492
VIVES
1489, a head of the Saviour in Venice (1493), a Resur-
rection at Venice also of 1498. Then we come to the
last great work, that of "St. Ambrose Enthroned", in
the Frari Church at Venice, commenced in 1501, left
incomplete at his death, and finished by Marco Bas-
aiti. Many other works of his still exist, but are with-
out date, and recent criticism has given back to Alvise
a number of portraits which have hitherto passed
under other names. There is but one signed portrait
by him, that which formed part of the Salt ing Bequest ;
but, taking that as a starting-point, the pictures at
Windsor Castle, in the Stuttgart Gallery, in the gallery
at Padua, and in the possession of the Comtesse de
B^arn, have been with considerable probabiUty
attriljuted to this painter. Many judges also attrib-
ute to him a portrait bequeathed to the National
Gallery by the Misses Cohen as well as one belonging
to Lord Wemyss, another in the possession of Lady
Layard, and a fourth in the Signoria in Venice.
For the only really satisfactory study of Vivarini and his works see Berenson, Lorenzo Lotto (London, 1901). See also Zanetti, Venetian Painters (Venice, 1771).
Antonio, b. probably at Murano during the early part of the fifteenth century; died probably at Venice, after 1470. He may be regarded as the father of the famous Murano school of painting. Of his historj' we know very little. He gave security for his wife's dower on 4 February, 1446. Where he acquired his early teaching in painting is not known, but he was undoubtedly influenced by Gentile da Fabriano and by Pisanello. He worked in partnership with Gio- vanni da Murano; the earliest dated work bearing their united names is in the Academy at Venice, and is dated 1440, while another copy of it is in the Church of St. Pantaleone, and is dated 1444. The organ shutters of San Giorgio Maggiore, executed by the two painters, are dated 1445, the "Virgin and Child Enthroned", in the Academy at Venice, bears the date of the following year. We know of the existence of a picture, dated 1447, which used to be in Padua, but which has disappeared ; about that date Giovanni Murano probably died, because in 14.50 Antonio entered into partnership with his brother Bartolom- meo, and the Bologna Gallery possesses a very fine picture signed by the two brothers in 1450 and painted for the Certosa. A picture was painted for the Church of San Francesco at Padua in the following year; the partnership broke up in 1459, and the pictures following that time are signed by Antonio alone. The only really important one is now in the Lateran Gallery, and is dated 1467. Other places where the works of this painter may be studied are Brescia, Osimo, Pausula, Bergamo, Berlin, and Milan.
Olcoit, Pamphlets [Siena, s.d.); Paoletti, The Painters of the Fifteenth and Sixteenth Centuries (Padua, 1895) ; Berenson, Lorenzo Lotto (London, 1901); Zanetti, Venetian Painters (Venice, 1771).
Bartolommeo (Bartolommeo da Murano), b. evidently at Murano, probably about 1425; died about 1499, certainly after 1490. He was a younger brother of Antonio, and must have been largely responsible for the artistic train- ing of Alvise. His earhest dated work is the great group of the "Madonna and Child with Saints" (now in the gallery at Bologna), originally painted for the Certosa of that city, and regarded in northern Italy as one of the finest creations of its time. It bears a long inscription commemorating the faithful services of Cardinal Nicolo Albergati, the friend of Pope Nicholas V, who gave the commission for the picture. Another work signed by the brothers represents the "Glory of Saint Peter", painted for the Church of San Francesco at Padua, and now in the gallery of that city. Signed by Bartolommeo only, but with his full family name of Vivarini, is the panel of San Giovanni C.apistrano (now in the Louvre), the earliest example bearing his signature
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alone. In 1464 the partnership appears to have
relaxed, and then Bartolommeo stood as an independ-
ent painter, and a man of great originality and dis-
tinct personal qualities. In 1465 he painted his
picture of the "Enthroned Virgin" (now in the
Naples Museum) for a church ai I!:iii. In 1 173 he
painted for the
Church of Santa
Maria Formosa
(Venice) the "Vir-
gin of Mercy",
and in the same
year his superb
figure of Saint
Augustine. T o
the following year
belongs the P'rari
picture of the
"Enthroned St.
Mark". The pic-
ture of "St. Am-
brose" at Vienna
is dated 1477 :
the "Virgin and
Child" at Venice,
1478; another
"Virgin and
Child" now at
Turin, 1481; a
smaller altar-
piece now in
the Frari church, St. John LAi'i.-.riiAN
1482; and the Bartolommeo Vivarmi, Louvre
"Saint Mary Magdalene" in the Academy at Venice is dated the same year. The last signed portrait is that of Saint Barbara in the Acad- emy at Venice; it is dated 1490, but contemporary evidence seems to prove that Bartolommeo Uved for several years after that date. In addition to the places mentioned, there are examples of his work at Fermo, Pausula, Boston, U. S. A., in the collection of Mr. Shaw, and in the collection of Lord Wemyss at Gosford. There are of course many pictures by him which bear no dates.
Zanetti, Venetian Painters (Venice, 1771).
George Charles Williamson.
Vives, Juan Luis, Spanish humanist and phi- losopher, b. at Valencia, March, 1492; d. at Bruges, 6 May, 1540. Through fear of the rigours of the Inquisition he left his country forever in 1509. He first studied at the LTniversity of Paris, and in 1512 settled at Bruges, which became his second fatherland, and which he left only for numerous journeys. He returned to Paris in 1514, 1519, and 1536. This city attracted him, but the commotion in the streets and the sarcastic humour of the inhabitants caused him to prefer Bruges. Nevertheless, he was several times unfaithful to it. In 1517 he became tutor to Guillaume de Croy, who at nineteen was cardinal and Archbishop of Toledo, lii'siding tlunceforth at Lou- vain, he was appointed in l.'il'.l professor at the uni- versity and attached to the college of the castle (cnl- legium castrcnsc). He lost his protector in 1521. After many comings and goings and \-ain efforts with Charles V, the Duke of Alba, and the Cardinal of Utrecht, he was attached on 12 October, 1523, to Corpus Christi College, Oxford, a foundat ion of Wol- sey. Henry VIII, Wolsey, and Queen Catherine of Aragon, to whom he had just dedicated his "De institulione feinina-", treated him benevolently. Nevertheless, he often escaiied from the Court and returned to Bruges. During oneof these absences he married the daughter of a worthy of the city, Mar- guerite Valdaura (26 May, 1524). " Henry VIH's pas- sion for Anne Boleyn now complicated the situation. Vives was arrested and banished for writing in de-
