Page:Biographical catalogue of the principal Italian painters.djvu/149

118 PALMA— PANETTI. ordinaxy models for these subjects. His draperies flow in rich and ample folds ; his colouring is harmonious and glowing, like that of Giorgione, but with a prevailing yellow tone in the flesh; and his works are very highly finished. Some of his portraits are admirable ; they are highly praised by Yasari. Falma's works, on the whole, are numerous in the European gal- leries, though according to Yasari he died aged only forty-eight Works., Yenice, Academy, St. John the Baptist with St. Peter and other* Saints, an early work in the style of Giorgione; Christ and the Widow of Nain; the Ascension of the Yirgin: Santa Maria Formosa, Sta. Barbara with the palm branch, above the Piet^ on either side, St. Sebastian and St. Anthony; Palma's master-piece: San Zaccaria, the Madonna with six Saints and an Angel: Santa Lucia: Santa Maria del Orto : Manfrini Palace, <&c. Ferrara, Santa Maria del Yado, the Tribute Money. Florence, Pal. Pitti, Christ at Emmaus ; Holy Family ; Por- trait, <fec. Milan, Brera, Adoration of the Magi ; the Woman taken in Adul- tery. Rome, Borghese and Colonna Palaces, Madonnas. Dresden, Yenus ; three Sisters, the painter's daughters ; and several others. Yienna Galleiy, thirteen specimens. Berlin Gallery, the Yirgin reading whilst the Child sleeps ; the Yirgin adoring the Child ; Portrait of a Doge; and two other sacred sub- jects. Louvre, the Nativity; one of the Shepherds adoring the Child. {Vcuari, Zanetti.) PALMEZZANO, or Palmeoiani Mabco, sometimes called Marco da FoBii, painted in 1508, living in 1537. Bolognese School. He was the scholar of Melozzo da Forli, and according to Lanzi his early works were in the diy and formal manner of the Quattro- eetUisH, with abundance of gilding; while his later productions displayed piare skill in the grouping and more freedom of execution; yet with a grace and a finish approach- ing Francia. He was, however, in the habit of disregarding the dra- matic unities ; and introduced accessory groups that had no relation with the principal. In the Brera at Milan are three pictures by Palmezzano— the Nativity; the Madonna and Child, with St. Peter and other Saints ; and the Coronation of the Yirgin. Also at Forli, in the Duomo, is a picture re- presenting the Last Supper, and in the Berlin Gallery are two pictures, one of the Yirgin and Child, with Saints, signed Marcus PalmezzanuSt Pictar Foroliorensis ; and a small pic- ture of Christ bearing his Cross, with a similar signature, and the date 1503. PALMIERI, Giuseppe, b, at Genoa, 1674; d. 1740. Genoese SchooL He painted historical subjects, and vras a good colourist, but displayed most talent in his representation of animals in hunts, (fee. Some of his best works of this kind are at Lisbon. In the church of San Domenico, at Genoa, is a picture of the Resurrection of Christ, his best historical work, {Battu) PALTRONIERI, Pietbo, called II MlBANDOLESE DALLE PbOSPETTIVB, b. at Mirandola, 1673 ;. d, at Bologna, 1741. Bolognese School. He was the scholar of G. F. Cassana, and Marcan- tonio Chiarini. He painted ^erepeo- tive, architectural views, and ornament with great skill. The figures finequentlj introduced into his works were inserted by Ercole Graziani : his pictures, com- monly views of ruins, are to be met with in Rome and Bologna; and at Yienna, where he dwelt some time. PANETTI, Domenico, b, at Fer- rara, 1460, d, about 1530. Ferrarese School. The early works of 4his pain- ter resemble those of the oldest Fer- rarese masters, but without their fan- tastic tendency; and according to