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