became one of the most famous goldsmiths of his time, as well as an eminent painter, sculptor, and engraver. Pietro, who studied painting under Andrea del Castagno, afterwards became his brother's associate. Their pictures show the effect of their training as goldsmiths in a certain precision and neatness of line and a metallic quality of surface. The style of the Pollajuoli, for it is difficult to assign to each that which belongs to him in the pictures assigned to one or the other, is mannered and exaggerated, though vigorous and full of life. Those displaying most sculptural elements are probably by Antonio, and those in which the pictorial element prevails are perhaps by Pietro. They are said to have been the first to dissect dead bodies for artistic purposes. Among the pictures generally assigned to Antonio are Martyrdom of St. Sebastian (1475), Angel Raphael and Tobias, The Virgin adoring the Infant Christ, and Apollo and Daphne, National Gallery, London; St. Sebastian, Palazzo Pitti, Florence; St. Sebastian, Galleria Estense, Modena; Holy Family, Palazzo Borghese, Rome; Tobias and the Angel, Turin Gallery; St. Christopher and the Infant Christ, New York Museum. To Pietro belong the Coronation of the Virgin (1483), in the Pieve of S. Gemignano, and the Annunciation, Berlin Museum. The Hercules, Three Saints, and Prudence, Uffizi, Florence, and three other panels in the Munich Gallery, are probably joint works of the two brothers.—C. & C., Italy, ii. 382; Vasari, ed. Le Mon., v. 90, 104; vii. 246; xi. 291, Ch. Blanc, École florentine; Burckhardt, 96, 134, 357; Lübke, Gesch. ital. Mal., i. 313.
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POLLASTRINI, ENRICO, born at Leghorn in 1817, died in Florence, Jan. 12, 1876. History painter, studied after the old masters, and became president of Florence Academy. Works: Death of Duke Alessandro de' Medici; Inundation of Serchio; Pia dei Tolomei; Death of St. Joseph; St. Lawrence giving Alms; Battle of Legnano; Fugitives of Siena.—L'Illustr. ital., 1876.
POLLET, VICTOR FLORENCE, born
in Paris, Nov. 22, 1811, died in Paris, Dec.
20, 1882. Genre painter, pupil of Delaroche
and Richomme; won grand prix de
Rome in 1838. Medals: 3d class, 1845;
L. of Honour, 1855. Works: Lydia (1865),
Baroness Rothschild; Innocence, A Study
(1866); Bacchante (1867); Siesta, The Bath
(1868); Idleness (1872); Dream of one of
the Daughters of Eve (1873); Pandora, Lycoenion
(1874); Mignon, Leaving the Bath
(1876); Venus taking off her Belt, Girl
Wounded in the Foot (1878); Wretched
Lodging, Victorious Omphale (1879); Venus
Victrix, Age of Innocence, Venus and
Cupid, Convalescence, S. A. Coale, St.
Louis.—Bellier, ii. 291; Courrier de l'Art
(1881-82), 612; Kunst-Chronik, xviii.; Art
Journal (1883), 63.
POLYCLES, painter, of Adramyttium
in Mysia. Said by Vitruvius (iii. Præf., 2)
to have deserved fame, but to have failed
through adverse fortune to attain it.
POLYDOR See Glauber, Jan.
POLYGNOTUS, the first really great
Greek painter, son and pupil of Aglaophon,
born in Thasos about the beginning of 5th
century B.C. He probably accompanied Cimon
on his return from the expedition
against Thasos (463 B.C.), to Athens, where
he was employed in the decoration of the
walls of the public buildings, and Polygnotus
refusing any compensation for his labour,
the Athenians bestowed citizenship upon
him. He assisted Micon in the decoration
of the Theseum, and painted in the portico
of the Pœcile, The Greeks assembled after
the Fall of Troy to judge Cassandra's Case,
and in the Anicæum, The Marriage of the
Dioscuri with the Daughters of Leucippus.
He also decorated the walls of the temple at
Thespiæ, painted Ulysses after Slaying the
