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Nor did Lorenzo Lotto, the pupil of Alvise Vivarini, escape the authority of that serene and perfect work, whose beauty lingered so quietly over the youth of the greatest painter of Italy, Tiziano Vecelli: his Holy Family seems to be a work of Giorgione himself almost, that has suffered some change; that change was Lotto.
One of them has a curious tiled ogee-shaped dome over the sanctuary. The pictures are: in S. Nicolò, a Byzantine Madonna and Child with S. Joseph; in S. Maria degli Angeli, a Bartolommeo Vivarini God the Father above, surrounded by angels; below, an enthroned Madonna with SS. Augustine, Catherine, and Cicely on one side; on the other, SS. Agnes, Jerome, and Lucy: the picture is dated 1475.
It has a sky full of cherubs, delectable mountains and towns in the distance, and all Cima's sweetness; and when the picture cleaning millionaire, of whom I speak elsewhere, has done his work it will be a joy. There is also a fine Bartolommeo Vivarini here, and the sacristan insists on your admiring a very ornate font which he says is by Sansovino.
The Vivarini is a Madonna enthroned with two child angels at her feet, with three saints on either side of her and angels holding the baldacchino. On our return to the inn the question of a carriage to Veglia engaged our attention. There was an officer of some kind in the room, who had taken one of the three carriages which appear to compose the transport of Besca Nova and declined to share it.
There is nothing here by Jacopo Bellini, nothing by his son Gentile; nor any work from the hands of Antonio or Bartolommeo Vivarini, or Antonello da Messina, who apparently introduced oil painting into Venice.
It is enough to indicate the goal of many a pleasant pilgrimage: warrior angels of Vivarini and Basaiti hidden in a dark chapel of the Frari; Fra Francesco's fantastic orchard of fruits and flowers in distant S. Francesco della Vigna; the golden Gian Bellini in S. Zaccaria; Palma's majestic S. Barbara in S. Maria Formosa; San Giobbe's wealth of sculptured frieze and floral scroll; the Ponte di Paradiso, with its Gothic arch; the painted plates in the Museo Civico; and palace after palace, loved for some quaint piece of tracery, some moulding full of mediæval symbolism, some fierce impossible Renaissance freak of fancy.
Whether or not he learnt from Bellini, he was certainly an assistant to Alvise Vivarini, on whose death he completed the large altar-piece in the Church of S. Maria de Friari at Venice, representing S. Ambrose surrounded by Saints.
As Van Eyck is to the Vivarini, so is Rubens to Paolo Veronese. This expresses the amount of likeness and of difference. Jacopo and his sons Gentile and Giovanni. Notice particularly the Contadina type of S. Catherine in a picture ascribed to Cordegliaghi in the Venetian Academy. These Scuole were the halls of meeting for companies called by the names of patron saints.
But the two chief pioneers of the early fifteenth century were Giovanni, or JOHANNES ALAMANUS, and ANTONIO DA MURANO. The former appears from his surname to have been of German origin, the latter belonged to the family of VIVARINI, and they used to work together on the same pictures. Two excellent examples of this combination are in the Academy at Venice.
To the fashion for the Bellinesque conceptions of a certain class, even Alvise Vivarini, the vigorous head of the opposite school in its latest Quattrocento development, bowed when he painted the Madonnas of the Redentore and S. Giovanni in Bragora at Venice, and that similar one now in the Vienna Gallery. Lorenzo Lotto, whose artistic connection with Alvise Mr.
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