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Of the eight examples in this gallery the earliest is probably the Dead Christ, presumably painted in 1472. The Demidoff altar-piece is dated 1476. In 1490 Crivelli was knighted by Prince Ferdinand of Capua, and from that date onward he was careful to add to his signature the title Miles as appears in our Madonna and Child Enthroned, with SS. Jerome and Sebastian called the Madonna della Rondine:
So to keep the peace, the gracious Leonardo painted portraits of the Duke's mistress, posing her as the Blessed Virgin, thus winning the royal favor and getting carte-blanche orders on the Keeper of the Exchequer. As a result of this Milan period we have the superb portrait, now in the Louvre, of Lucrezia Crivelli, who was supposed to be the favorite of the Duke.
Carlo Crivelli was another master of the fifteenth century who deserves notice. He had strong individuality, yet was influenced by the Paduan and Venetian Schools. He displayed an old-fashioned preference for painting in tempera. Sometimes his drawing approaches that of Mantegna, while he has a gorgeousness of colouring all his own.
It is found occasionally in mosaics from the eighth to the eleventh centuries, and in some of the early votive pictures, but does not appear in the later period except in a few Venetian pictures by Giovanni da Murano and Carlo Crivelli. The same idea was often carried out by placing two hovering angels over the Virgin's head, holding the crown between them.
A glance at Crocker's uncompromising sturdiness convinced him that on that side the situation might be quickly exhausted. Emma he could trust to do it full justice. Excusing himself abruptly, he made for Frau Stern's lodgings, and with the taste of Crocker's vermouth still in his faithless mouth, told her that Emma's Crivelli was no other than the missing St. Michael.
In connection with the Vivarini must be mentioned CARLO CRIVELLI, who studied with Bartolommeo under Antonio and Squarcione. But there was something fierce and uncongenial about Crivelli which takes him out of the main body of Venetian painters, and seems to have given him more pride in being made a knight than in his pictorial achievements, remarkable as they were.
In all these pictures Crivelli reveals himself as an artist filled with emotional inspiration, to whom the thrill of life is more than its trappings, and one, moreover, who observes, balances and differentiates. The society of his saints and angels is stimulating; the element of the unexpected enters into his work in open defiance of his pronounced mannerism. It is possible to detect beneath the close and manifold coverings of his ornate decoration a swift flame of imaginative impulse such as Blake sent into the world without such covering. He would have pleased Blake by this nervous energy and by his pure bright coloring, despite the fact that he signed himself "Venetus." He painted in tempera and finished his work with care and deliberation. It is remarkable that so little of his mental fire died out in the slow process of his execution. It is still more remarkable that in spite of his reactionary tendencies, his archaistic use of gold and relief at a moment when all great artists were renouncing these, he is intensely modern in his sentiment. He seems to represent a phase of human development at which we in America have but recently arrived; a phase in which appreciation of ancient finished forms of beauty is united to a restless eagerness and the impulse toward exaggerated self-expression. He is supposed to have been born about 1440, which would make him a contemporary of the two Bellini, of Hans Memling and of Mantegna. Had he only been able to give his imagination a higher range had he possessed a more controlling spiritual ideal, had the touch of self-consciousness that rests like a grimace on the otherwise lovely aspect of much of his painting, been eliminated, he would have stood with these on the heights of fifteenth century art. We are fortunate to have in America the Boston Museum Piet
Crivelli was a second-rate tenor, and could not be trusted with the part of Don Ottavio, and a Frenchman named Milon, whom I conclude to have been a violoncello player, afterward identified with the organization of the Philharmonic Society, was engaged for that part. A Mme. Barbieri was cast for the part of Donna Anna, Mme. Garcia for that of Donna Elvira, Manuel Garcia, Jr.
The Florentines with fair and pleasant gardens; the Umbrians with spacious colonnades, distant landscapes, and rare skies; the Venetians with fruits and garlands of foliage and fruit, and even vegetables, if they had a particular regard for them, as Crivelli had for the cucumber. One painter only before this time decorated his pictures with nude human figures, Luca Signorelli.
Professor Legros with impartial judgment assures us that both are copies of a lost original; 1597, a doubtful attribution, is a rather effeminate John the Baptist, by some critics believed to be a second Gioconda portrait; 1600, the supposed portrait of Lucrezia Crivelli, mistress of Ludovico il Moro, is also ascribed by the official catalogue to Da Vinci.
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