Page:Biographical catalogue of the principal Italian painters.djvu/160

 PIOMBO— PISANO- 129 lioacy, the colouring is rich and har- monious, and all the details and acces- sories are rendered with great exact- ness, as in his own Portrait, and that of Jppolito de' Medici, in the National Gallery. Sebastiano painted some of his pictures on slate and on stone. In the Berlin Gallery is a picture of Christ on the Cross, of which the stone itself constitutes the background. Works. Venice, San Giovanni Cri- sostomo, an altar-piece representing that saint with the Baptist and other saints, male and female, an early work, and long supposed in Venice to have been by Giorgione ; San Niccolo, a Ma- donna, with Saints. Florence, Pitti Palace, the Martyrdom of Sant' Agatha, 1520. Borne, San Pietro in Montorio, the Scourging of Christ, (fresco) ; Dona Gallery, Andrea Doria. Naples, Stu4) Galleiy, Pope Clement VII. and others. Arezzo, Pietro Aretino. Ber- lin Gallery, the Portrait of Pietro Aretino ; a Dead Christ, supported by Joseph of Arimathea; Christ on the Cross, from a drawing by Michelangelo. Louvre, the Visitation of the Virgin, 1521. London, National Gallery, the Baising of Lazarus, Sebastiano's mas- ter^piece ; emd the portraits mentioned. Bridgewater GaUery, the Entombment. {Vasariy Biagi,) PIPPI. [KOMANO.] PISANELLO, ViTTOEE, called also PiSAKO, b, 1404, d, about 1451. Vene- tian School. He was of Verona or its neighbourhood, and is noticed by Vasari in the life of Gentile da Fa- briano, with whom Pisanello painted in the Lateran Palace, at Bome ; and much in the same style as that cele- brated painter, but in some respects he was more realistic. He excelled in fore- shortening, an din perspective, and also distinguished himself for his skill as an animal pednter, especially of horses. .Pisanello is said to have done for the advancement of art in Verona what was achieved by Masaccio in Florence. Schom has remarked that his delicate graceful figures partake, in attitude and character, of the simplicity and sentiment of an earlier period, while in his efforts to represent dramatic action, in the fore-shortening of the figure and other technical difficulties, he approached nearer Masaccio: the works so much praised by Vasari for these qualities have perished. Pisa- nello was also a very celebrated me- dallist, indeed the reviver of this art among the modems ; several, at least fifteen, of his works of this class are still preserved, well^executed individual portraits, and all marked Opu8 Pisani Pictorit; their dates range from 1444 to 1448, but some are earlier. Works, Verona, San Fermo Mag- giore, an Annunciation, fresco, c. 1420, marked P'uaniits pinsit, much injured : Palazzo del Consiglio, a Madonna in a flower garden, with Angels and Saints. Ferrara, Galleria Costabili, San Giorgio, and Sant' Antonio, abate. PISANO, GiuNTA, painted from 1202 to 1255. Tuscan School. The first Italian painter of any importance, or whose name is inscribed on an existing work. To him are ascribed a picture, with Saints, in the chapel of the Campo Santo, at Pisa, and some wall-paintings in the upper church of San Francesco at Assisi, representing the Martyrdom of St Peter and the Destruction of Simon Magus. These were painted about 1230, and were the first executed in that church. Till 1229 Giunta was living in Pisa. The former work is much retouched, and the action and expression in these productions are still feeble, and fettered by Byzantine conventionalisms. But in the Cruci- fixion, painted on a cross in Santa Maria degli Angeli at Assisi, and in a second in San Banieri at Pisa, marked Juncta Pisanus me fecit, a very re- markable advancement is. indicated;