Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/414

 The Virgin kneels to Christ, and the three Archangels fly toward them. Michael is followed by the Thrones and Principalities, beneath which are SS. Ambrose, Jerome, Gregory, and Augustine. On the other side, Gabriel is surrounded by the Seraphim and the Cherubim, beneath whom are the Hebrew kings and prophets, and lower down SS. Agnes, Giustina of Padua, Catharine, and Barbara. Raphael, in front, has beneath him the Evangelists, on the left Noah, and on the right Adam and Eve; in the centre rises the angel of the sea, praying for the safety of Venice, with Mary Magdalen on the right, behind St. Monica, and beneath, Rachel, among the angels of her children. Begun in 1588, when Tintoretto was seventy years old; painted in place of the Paradise by Guariento, destroyed in the fire of 1577. Study in the Palazzo Mocenigo, Venice; another in Madrid Museum. Ruskin calls this picture the "most wonderful piece of pure, manly, and masterly oil-painting in the world."—Ridolfi, Maraviglie, ii. 241; Ruskin, Stones of Venice, iii. 294; Zanotto, 134.

PARADISI, NICHOLAS. See Semitecolo.

PARCELLIS. See Porcellis.

PARDON, GRAND, IN BRITTANY, Jules Breton, Miss Catherine L. Wolfe, New York; canvas, H. 4 ft. × 7 ft. The procession of the Host around the exterior of a church in Brittany, on the day of the patron saint of the village.—Art Treasures of America, i. 121.

PAREJA, JUAN DE, born at Seville, about 1606, died in Madrid in 1670. Spanish school. His parents were slaves, and he himself was slave to Velasquez, who employed him as his colour-grinder. Learned to paint secretly, was freed by his master at the intercession of Philip IV., and became his pupil, but continued in his service and in that of his daughter until his death. He succeeded best in portraits, but painted several large pictures, his style being a close imitation of his master's. Works: Calling of St. Matthew, Madrid Museum; Baptism of Christ, Presentation in Temple, Battle-Piece, Museo Nacional, Madrid; Capuchin Monk, Hermitage; Boy, Dulwich Gallery.—Cean Bermudez; Stirling, ii. 708; Viardot, 217; Ch. Blanc, École espagnole; Curtis, 326; Madrazo, 511.

PAREJA, JUAN DE, portrait, Velasquez, Earl of Carlisle, Castle Howard, England. Bust of a mulatto, in gray doublet and white collar. Painted during Velasquez's second journey to Italy; attracted so much attention when exhibited in the Pantheon, Rome, that Velasquez was made (1650) a member of the Academy of St. Luke. It is possible, however, that the portrait possessed by the Earl of Radnor may be the one in question.—Stirling, ii. 710; Waagen, Treasures, iii. 325; Lord Gower, Hist. Gal. England; Curtis, 75, 326; Waagen, iii. 325.

By Velasquez, Earl of Radnor, Longford Castle, Wilts, England; canvas, H. 2 ft. 6 in. × 2 ft. 1 in. Bust of a mulatto, in a dark-green doublet with white collar.—Stirling, ii. 642, 709; Waagen, Treasures, iv. 361; Cean Bermudez, iv. 51; Palomino, iii. 337; Curtis, 75, 326.

PARET Y ALCÁZAR, Don LUIS, born in Madrid in 1747, died there, Feb. 14, 1799. Pupil of Antonio Gonzalez Velasquez in Academy of S. Fernando, afterwards of Charles de la Traverse, then living in Madrid. Studied in Rome; on his return home elected a member of the Academy, and employed by Charles III. to paint views of the harbours of Spain. He painted also small figure-pieces, landscapes, and flowers; made designs for book illustrations, and executed many etchings. Works: Two Flower-Pieces, Royal Fête (1789), Oath of Prince of Asturias in St. Jerome's at Madrid (1789), Madrid Museum.—Stirling, iii. 1232; Ch. Blanc, École espagnole; Madrazo, 513.