Page:Biographical catalogue of the principal Italian painters.djvu/157

 126 PIAZZETTA— PINTURICCHIO. PIAZZETTA, Gio. Battista, 6. at Venice, 1682, d. 1754. Venetian School. He studied first under his father Jacopo, a carver of wood; afterwards under Molioari, a painter; but he eventually studied the works of Guer- cino, at Bologna, and endeavoured to master the strong contrasts of light and shade, characteristic of that painter. He fell into an exaggerated manner, and became one of the darkest of the Tenebrosi: he, however, suc- ceeded in powerful reflexes, producing a striking effect; and was certainly one of the most distinguished Venetian painters of the eighteenth century. In his colouring he was less successful. Many of his works have been en- graved, and his drawings are highly esteemed; he excelled in caricature. According to Ijanzi, his master-piece is the beheading of John the Baptist, in San Giovanni, at Padua. {Zanetti.) PIETRO, NioooLA Di, painted in 1392. Tuscan School. The few fres- coes that remain by this painter, assumed to have been a scholar of Giotto, are amongst the most remark- able of their time. The nine large frescoes of the Passion, in the chapter- house of the convent of San Francesco, at Pisa, though much damaged, show, says Br. Forster, a stronger appre- ciation of individuality and beauty than had been hitherto manifested. They are marked — Niccholaus Petri Pictor de Florentia hoc depinsU opus, M.CCC.LXXXXU. They are engraved by Lasinio. PINO, Mabco da, or Mabco da SiEMA, b. at Siena, about 1520, d, at Naples, about 1587. Sienese School. He is said to have been the scholar of Domenico Beccafumi and of Daniele da Volterra. Baldinucci states that he studied also under Baldassare Peruzzi. He studied some time in Bome, and became one of the most judicious and able imitators of Michelangelo. In about 1560, Marco da Pino settled in Naples, and acquired the reputation of the most distinguished painter of his time in that city, where he exerted great influence in his art; he contri- buted also, with the aid of his pupil Criscuolo, towards its history, in vin- dication of Vasari's neglect of the Neapolitan School. He was also a dis- tinguished architect as well as painter. Works, Bome, Santa Maria Ara- celi, a Pieta, or Bead Christ, with the Virgin and St. John. Naples, San Giovanni de' Fioreniini, the Deposition from the Cross (1577) ; San Severino, the Assumption of the Virgin; the Adoration of the Magi ; and others : Studj Gallery, the Circumcision, &c. {Dominici.) PINTURICCHIO, or Bernabdino DI Betto, b. at Perugia, 1454, eL at Siena, Dec. 11, 1518. Umbrian School. Little is known of his early life. His father's name was Benedetto ; Pintu- ricchio is a mere nickname, signifying the " Little Painter." After Raphael, he was the most distinguished of Pie- tro Perugino's scholars, or rather as- sistants ; Riunohr supposes his mas- ter to have been Niccolo Alunno. He adhered much to Pietro's manner, but surpassed him, perhaps, in most respects, especially in composition, in drawing, and in general taste ; he was one of those who mainly contributed to the great advancement of the six- teenth century. About 1484 he worked as Perugino's assistant at Rome. From 1492 he was employed at Orvieto and at Rome; and in 1502 he was com- missioned by Cardinal Piccolomini to paint the frescoes of the Library of Siena, in which he procured the assist- ance of Raphael, then a youth, in bis twentieth year only; and who, says Vasari, prepared some of the drawings and cartoons for that work. Pinturic- chio and Raphael are termed fellow pupils; but there was thirty years