PAUL III., Pope, portrait, Titian, Naples Museum; canvas, figure to knees, life-size. An aged man, seated in a crimson chair. Painted in 1543 for Cardinal Santafiore; a replica of an older picture now lost. Copies and variations in Hermitage, St. Petersburg; Palazzo Pitti, Florence; Turin Museum; Palazzo Spada, Rome; Naples Museum; Vienna Museum; Alnwick Castle Collection, England; and Lord Northwick Collection, ib.—Vasari, ed. Mil., vii. 443; C. & C., Titian, ii. 85.
PAULESEN, ERIK, born at Bygom near
Viborg, Oct. 14, 1749, died in Copenhagen,
Feb. 20, 1790. History and portrait painter,
pupil of Copenhagen Academy; won
great gold medal in 1777, visited France
and Italy in 1780-83, Norway in 1787.
Member of Copenhagen Academy in 1784.
In a fit of melancholia committed suicide
by throwing himself out of a window.
Works: Solomon's Judgment (1777); Allegory
on Union of the Norse Kingdoms
(1784); Priest Madsen bringing News from
the Enemy; Anne Colbjörnsen at the Parsonage
of Norderhoug; Murder of Knud in
St. Albani's; Two Family Scenes (1784),
Copenhagen Gallery; The Nymphs thanking
Hercules for killing the Hydra, Schwerin
Gallery.—Weilbach, 531.
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PAULSEN, FRITZ, born at Schwerin,
May 31, 1838. Genre and portrait painter,
pupil of Düsseldorf Academy, and in Munich
of Piloty; studied four years in Paris
and in 1870 settled in Berlin. Professor.
Works: Suabian Mother; Opportune Moment
for Revenge (1867), Schwerin Gallery;
Girls' Boarding School; Visit to Nursery
(1872); Modern Don Quixote; Sleep
Well!; Mother's Pride; Bunko-Steerers
(1874); Jour fixé (1876); After Dinner;
Lady's Portrait (1878); Portrait of Burgomaster
Forckenbeck (1879); Report of the
Ball (Jubilee Exhibition, Berlin, 1886).—Leixner,
Mod. K., i. 73; Rosenberg, Berl.
Malersch., 319; D. Rundschau, ix. 476.
PAULYN, HORATIUS, second half of
17th century. Dutch school; genre painter,
lived long at Amsterdam, and undertook
an adventurous journey to the Holy
Land. His works show the influence of
Rembrandt. Works: Man counting Money,
Uffizi, Florence; Mandoline Player,
Count Belgiojoso, Milan; Abraham's Sacrifice
(? attributed to Ferdinand Bol), Mentz
Museum.—Bode Studien, 158; Immerzeel,
ii. 296.
PAUSIAS, one of the best of Greek painters,
of Sicyon, son and pupil of Bryes, and
scholar of Pamphilus, about 360-330 B.C.
He became most famous for his paintings
in encaustic, which art he had learned from
Pamphilus, and he was the first to use this
method in the decoration of walls and ceilings.
Art in his hands made great technical
progress, especially in the modelling of
objects through skilfully treated light and
shadow. This was most conspicuous in his
picture of a Sacrifice, preserved in the portico
of Pompey at Rome. The victim, a
black ox, was so admirably foreshortened
that, though standing with his head to the
spectator, his length seemed to be measurable;
and the shadow of the animal falling
on a group of people in a strong light caused
both to appear to stand out from the picture.
Another famous picture of his was the
portrait of Glycera, a flower-girl, for a copy
of which L. Lucullus paid two talents. Pliny
says (xxxv. 40 [123]) that Pausias painted
many small pictures, chiefly miniatures of
children. Pausanias (ii. 27, 3) mentions
two paintings by Pausias, in the Tholus at
Epidaurus, the one representing Love, the
other Drunkenness.
PAUSIAS AND GLYCERA, Rubens,
Grosvenor House, London; canvas, H. 7 ft.
× 6 ft. 2 in. Sitting on a bank; Pausias
holding the portrait of his mistress Glycera;
she holding a wreath of flowers; other flowers
in a vase and basket. Erroneously called
portraits of Rubens and his first wife.—Waagen,
Treasures, ii. 164; Smith, ii. 219.
PAUSINGER, FRANZ VON, born in
