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the Paduan influence of Squarcione, under whom Bartolommeo had studied, instead of the northern influence of Alamanus, into Antonio's workshop, and while this work of 1450, as might be supposed, bears a general resemblance to that of 1446, the change of partnership is at least perceptible, and had a determining influence on the development of the Venetian style. A slightly earlier work of Bartolommeo alone is a Madonna and Child belonging to Sir Hugh Lane, signed and dated 1448. An altar-piece in the Venice Academy is dated 1464, a Madonna and Four Saints, in the Frari, 1482, and S. Barbara, in the Academy, 1490. Bartolommeo is supposed to have died in 1499. ALVISE, or LUIGI, VIVARINI was the son of Antonio, and though he worked under him and his uncle Bartolommeo, as well as under Giovanni Bellini, the Paduan influence is apparent in his work. He was born in 1447, and his first dated work is an altar-piece at Montefiorentino, in 1475. In the Academy at Venice is a Madonna dated 1480, and at Naples a Madonna with SS. Francis and Bernard, 1485. Another Madonna at Vienna is dated 1489, and the large altar-piece in the Basilica at the Kaiser Friedrich Museum in Berlin is assigned to about the same time. This is the first of his works in which the influence of Bellini rather than that of his family is traceable, while of the "Redentore" Madonna at Venice, of about five years later, Mr Bernhard Bernson says that, "As a composition no work of the kind by Giovanni Bellini even rivals it." In 1498 he had advanced so far as to be spoken of as anticipating Giorgione and Titian, in the effect of light and in the roundness and softness of the figures of the _Resurrection_, at Bragora. His last work, the altar-piece at the Frari, was completed after his death in 1504 by his pupil Basaiti. Bartolommeo Montagna, Jacopo da Valenza and Lorenzo Lotto were the chief of his other pupils. 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 his ornamentation of every detail with gold and jewels he recalls the style of Antonio Vivarini, but while the master used it as accessory merely, Crivelli positively revelled in it. A
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