several of which, including this one, were finished by Filippino Lippi after his master's death. The picture represents at right the judgment of St. Peter, and at left his crucifixion. Engraved by C. Lasinio.—Réveil, xi. 757.
By Michelangelo, Cappella Paolina, Vatican, Rome; fresco on wall, under the window.
By Rubens, St. Pierre, Cologne; canvas. Three executioners bind and nail the hands and feet of the martyr to the cross, which a fourth plants in the ground; a fifth holds the Saint's left hand. Rubens's last picture; painted in 1638 for Jabach, who gave it to the church. Executed with the utmost vigour, and finished with great care, it shows no sign of diminished power.—Kugler (Crowe), ii. 286; Michiels, 357.
PETER, ST., IN PRISON, Murillo, Hermitage,
St. Petersburg; canvas, H. 10 ft. ×
8 ft. 6 in. In blue tunic and yellow mantle,
seated on floor of prison, turning his head
towards the angel, who points the way of
escape; background, architecture and sleeping
guards. Painted about 1674; one of
eight large pictures for Hospital of La Caridad,
Seville; carried off by Soult; Soult
sale (1852), 151,000 francs.—Curtis, 263;
L'Illustration, May 31, 1852; Hermitage Cat.,
130.
PETER, ST., RAISING TABITHA, Guercino,
Palazzo Pitti, Florence; canvas, H. 4
ft 4 in. × 5 ft. 5 in. Tabitha lying dead
upon a bier, surrounded by weeping women;
beside the bier, one of the messengers
sent to Lydda, pointing to the corpse, and
beside him, St. Peter, with his right hand
raised. Black in tone. Engraved by C.
Ferrari.—Gal. du Pal. Pitti, ii. Pl. 19; Lavice,
60.
PETER ARBUEZ, ST., Murillo, Hermitage,
St. Petersburg; canvas, H. 9 ft. 6 in.
× 6 ft. 9 in. Two executioners, seizing the
Saint from behind, attack him with sword
and poniard as he kneels on the steps of an
altar, looking up to an angel who brings
the palm of martyrdom; a night scene.
Taken in 1804 from baptistery of Cathedral,
Seville, by the Prince of Peace, who left in
its place a copy by Joaquin Cortes; purchased
for Hermitage in 1831. Repetition
in Vatican. Copy in Chapel of Belen, Seville
Cathedral; another in Cordova Museum.
Etched by M. Arteaga; lithographed
by H. Robillard. This Saint, sometimes
called St. Peter Martyr, was born in Aragon
about 1441; was an efficient aid to Torquemada,
and was slain in 1484 in the Cathedral
of Saragossa.—Curtis, 264; Hermitage
Cat., 131.
PETER MARTYR, ST., Cima da Conegliano,
Brera, Milan; wood, H. 10 ft. 6 in. ×
7 ft.; signed. The Saint, on a pedestal at
the foot of which an angel plays the violoncello,
in an arched cloister between SS. Nicholas
and Augustin; background, a fine landscape.—Vasari,
ed. Mil., iii. 645, 664; Sansovino,
Ven. Des., 174.
By Garofalo, Ferrara Gallery; wood, H. 8 ft. 6 in. × 5 ft. 11 in. A group of three figures, with landscape background; above, a glory of angels. Represents death of Peter Martyr, of Verona; some authorities declare, says Lanzi, that it was painted in competition with Titian. Painted for S. Domenico, Ferrara.—Vasari, ed. Mil., vi. 465; Lanzi, iii. 203.
PETER MARTYR, ST., DEATH OF, Domenichino,
Bologna Gallery; canvas, H. 10
ft. 9 in. × 7 ft. 2 in. Peter Martyr, lying on
the ground beneath trees, is about to be despatched
by the sword of a ruffian, while his
companion takes to flight; above, five boy
angels, one bearing the palm of martyrdom
and the crown. The composition is a plagiarism
on Titian's celebrated picture of the
same subject, simply reversed, treated with
extreme and painful realism. From Church
of Dominicans at Brisighella. Was taken
to Paris. Engraved by Rosaspina. Pinac.
di Bologna, Pl. 13.—Viardot, 107; Lavice,
21.
By Lorenzo Lotto, S. Pietro Martire, Alzano; wood, figures life-size. Peter Martyr, with the knife in his forehead and the dag-
