Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/427

 PAUL III., Pope, portrait, Titian, Naples Museum; canvas, figure to knees, life-size. An aged man, seated in a crimson chair. Painted in 1543 for Cardinal Santafiore; a replica of an older picture now lost. Copies and variations in Hermitage, St. Petersburg; Palazzo Pitti, Florence; Turin Museum; Palazzo Spada, Rome; Naples Museum; Vienna Museum; Alnwick Castle Collection, England; and Lord Northwick Collection, ib.—Vasari, ed. Mil., vii. 443; C. & C., Titian, ii. 85.

PAULESEN, ERIK, born at Bygom near Viborg, Oct. 14, 1749, died in Copenhagen, Feb. 20, 1790. History and portrait painter, pupil of Copenhagen Academy; won great gold medal in 1777, visited France and Italy in 1780-83, Norway in 1787. Member of Copenhagen Academy in 1784. In a fit of melancholia committed suicide by throwing himself out of a window. Works: Solomon's Judgment (1777); Allegory on Union of the Norse Kingdoms (1784); Priest Madsen bringing News from the Enemy; Anne Colbjörnsen at the Parsonage of Norderhoug; Murder of Knud in St. Albani's; Two Family Scenes (1784), Copenhagen Gallery; The Nymphs thanking Hercules for killing the Hydra, Schwerin Gallery.—Weilbach, 531.

PAULSEN, FRITZ, born at Schwerin, May 31, 1838. Genre and portrait painter, pupil of Düsseldorf Academy, and in Munich of Piloty; studied four years in Paris and in 1870 settled in Berlin. Professor. Works: Suabian Mother; Opportune Moment for Revenge (1867), Schwerin Gallery; Girls' Boarding School; Visit to Nursery (1872); Modern Don Quixote; Sleep Well!; Mother's Pride; Bunko-Steerers (1874); Jour fixé (1876); After Dinner; Lady's Portrait (1878); Portrait of Burgomaster Forckenbeck (1879); Report of the Ball (Jubilee Exhibition, Berlin, 1886).—Leixner, Mod. K., i. 73; Rosenberg, Berl. Malersch., 319; D. Rundschau, ix. 476.

PAULYN, HORATIUS, second half of 17th century. Dutch school; genre painter, lived long at Amsterdam, and undertook an adventurous journey to the Holy Land. His works show the influence of Rembrandt. Works: Man counting Money, Uffizi, Florence; Mandoline Player, Count Belgiojoso, Milan; Abraham's Sacrifice (? attributed to Ferdinand Bol), Mentz Museum.—Bode Studien, 158; Immerzeel, ii. 296.

PAUSIAS, one of the best of Greek painters, of Sicyon, son and pupil of Bryes, and scholar of Pamphilus, about 360-330 He became most famous for his paintings in encaustic, which art he had learned from Pamphilus, and he was the first to use this method in the decoration of walls and ceilings. Art in his hands made great technical progress, especially in the modelling of objects through skilfully treated light and shadow. This was most conspicuous in his picture of a Sacrifice, preserved in the portico of Pompey at Rome. The victim, a black ox, was so admirably foreshortened that, though standing with his head to the spectator, his length seemed to be measurable; and the shadow of the animal falling on a group of people in a strong light caused both to appear to stand out from the picture. Another famous picture of his was the portrait of Glycera, a flower-girl, for a copy of which L. Lucullus paid two talents. Pliny says (xxxv. 40 [123]) that Pausias painted many small pictures, chiefly miniatures of children. Pausanias (ii. 27, 3) mentions two paintings by Pausias, in the Tholus at Epidaurus, the one representing Love, the other Drunkenness.

PAUSIAS AND GLYCERA, Rubens, Grosvenor House, London; canvas, H. 7 ft. × 6 ft. 2 in. Sitting on a bank; Pausias holding the portrait of his mistress Glycera; she holding a wreath of flowers; other flowers in a vase and basket. Erroneously called portraits of Rubens and his first wife.—Waagen, Treasures, ii. 164; Smith, ii. 219.

PAUSINGER, FRANZ VON, born in