Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/469

1492-94 in the Vatican still exist, but those painted (1495) in the Castle of S. Angelo are no longer extant. To finish such vast works so rapidly many assistants were needed, and the result achieved represents rather the skilled labour of art than exceptional talent. About 1495 Pinturicchio painted a series of frescos from the life of S. Bernardino, in the Bufalini Chapel in Aracli, Rome, in a purer and better style than had been his wont. The Madonna and St. John the Baptist, in the Perugia Academy, and the Madonna and Donor, in the Duomo of S. Severino, belong to a little later period, while the important frescos of the Annunciation, Nativity, and Christ disputing with the Doctors, in S. M. Maggiore at Spello, were painted about 1501. The next year he was engaged by Cardinal Piccolomini to decorate his family chapel, the so-called Library, in the Duomo, Siena, with frescos illustrating the history of the great Piccolomini Pope, Pius II., the learned Æneas Silvius, which he completed in 1507 with the aid of many apprentices, one of whom was Raphael, who came to Siena in 1503. Vasari's statement that Raphael designed the whole series is probably greatly exaggerated, but his drawings in the Uffizi, at Perugia, and at Chatsworth, of single figures and draperies of two of these frescos, proves that it is not altogether untrue. His cooperation is also substantiated by the fact that Pinturicchio introduced him as a spectator in the fresco of the Canonization of St. Catharine. Pinturicchio's last authentic picture is a cabinet miniature of Christ bearing the Cross (1513), Palazzo Borromeo, Milan. Among his easel pictures in galleries are: Altarpiece, Perugia Academy; Holy Family, Siena Academy; Coronation of the Virgin, Vatican; Adoration of the Magi, Palazzo Pitti, Florence; Reliquarium with SS. Augustine, Benedict, and Bernard, Madonna, Berlin Museum; several Madonnas, Louvre; St. Catharine, Madonna, Return of Ulysses (fresco transferred to canvas), and the Story of Griselda (3, in tempera on wood), National Gallery, London.—C. & C., Italy, iii. 256; Vasari, ed. Le Mon., v. 261; ed. Mil., iii. 493, 529; Burckhardt, 571; Ch. Blanc, École ombrienne; Vermiglioli, Mem. di Bern. Pinturicchio (Perugia, 1837); Lübke, Gesch. ital. Mal., i. 38, 438.

PINUS, CORNELIUS, Roman painter, about A.D. 70. Decorated, together with Attius Priscus, the Temple of Honos and Virtus, near the Porta Capena, Rome, when it was restored by Vespasian.—Pliny, xxxv. 37 [120]; Sillig, 357.

PIOLA, DOMENICO, born in Genoa in 1628, died there in 1703. Genoese school; brother and pupil of Pellegro Piola; afterwards studied under Cappellino. Associated with Valerio Castello, he executed large mural paintings in S. M. della Passione and S. Marta, Genoa, and painted many frescos in his style. Afterwards adopted the manner of Pietro da Cortona. His works are in many churches and palaces in and around Genoa. Domenico had three sons who were painters—Antonio Maria (1654-1715), Giambattista, and Paolgirolamo (1666-1724).—Lanzi, iii. 261; Ch. Blanc, École génoise.

PIOLA, PELLEGRO, born in Genoa in 1617, died there, Nov. 24, 1640. Genoese school; pupil of Giovanni Domenico Cappellino, who was a disciple of Paggi, but formed his style on study of the best masters. Displayed exceptional talent before he was assassinated at the age of twenty-three. Works: St. Ursula, Palazzo Brignole sale, Genoa; Madonna del Rosario, Genoa Academy; Madonna and St. John, Uffizi, Florence; Bacchante, Turin Museum; Unus Vestrum, S. Stefano, Genoa; Madonna, Palazzo Brignole, ib.; SS. Peter and John curing the Paralytic, Carignano Church, ib.—Lanzi, iii. 260; Ch. Blanc, École génoise; Burckhardt, 787; Lavice, 84.

PIOMBO, Fra SEBASTIANO DEL, born in Venice(?) in 1485, died in Rome, June 21, 1547. Venetian school; real name Luciani, but commonly called as above from the office