Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/445

 Giuocolo Giuochi. Vasari erroneously calls him Francesco Peselli, and makes Pesellino his son instead of his grandson. He is also wrong in making him a pupil of Andrea del Castagno, who was not born until 1390. None of his works extant. He was also an architect and a sculptor.—C. & C., Italy, ii. 354; Vasari, ed. Le Mon., ii. 136, 155; iv. 74, 180; ed. Mil., iii. 35, 41; Lübke, Gesch. ital. Mal., i. 310.

PESNE, ANTOINE, born in Paris, May 23, 1683, died in Berlin, Aug. 5, 1757. French school; history and portrait painter, nephew of the famous engraver Jean Pesne (1623-1700), pupil of his father, Thomas Pesne, a portrait painter, and of Charles de la Fosse, his uncle; studied then at Rome, Naples, and Venice, and while in Italy was called in 1710 to Berlin, where he became court-painter in 1711, and director of the Academy. Member of Paris Academy in 1720. Works: Portrait of Frederik William II., do. of the Painter Nicolaas Wleughels, Versailles Museum; do. of Frederick the Great (1739), do. of Engraver G. F. Schmidt and Wife (1748), Family of Captain von Erlach, Berlin Museum; Girl with two Pigeons (1728), Fortune Teller, Cook plucking Turkey (1712), Artist's Portrait (1728), three other portraits, Dresden Museum; Girl with Basket, Old Pinakothek, Munich; Lady's Portrait, Schwerin Gallery; Story of the Widow of Corinth, Wörlitz Gallery.—Bellier, ii. 246; Jal, 960; Nagler, xi. 159.

PETER, ST., Carlo Dolci, Palazzo Pitti, Florence; canvas, H. 5 ft. 8 in. × 3 ft. 11 in. St. Peter, sitting in a grotto, with clasped hands, weeping over his fault; in background, the cock. Painted in 1654 for Carlo Corbinelli. Engraved by V. Benucci.—Gal. du Pal. Pitti, i. Pl. 34.

By Guido Reni, Hermitage, St. Petersburg. The Apostle, in a blue tunic and yellow mantle, is represented with clasped hands, expressive of repentance.

PETER, ST., CHRIST'S CHARGE TO, Pietro Perugino, Sistine Chapel, Vatican; fresco. Christ, attended by the Apostles and others in a palatial court, gives the keys to Peter, who is kneeling; background, an octagonal temple with two porches, and a triumphal arch on each side, with landscape in background, figures in middle distance. One of his finest mural works. Finished in 1486.—C. & C., Italy, iii. 179; Woermann, ii. 238.

By Rubens, Hertford House, London; wood, H. 4 ft. 7 in. × 3 ft. Figures half-length, life-size. Christ, in the presence of three of his disciples, delivers the keys to Peter, to whom he appears to say: "Feed my sheep;" near the Saviour the heads of two sheep. Painted for chapel of tomb of Viscomte d'Amant, Chancellor of Brabant; sold to Lafontaine in Paris, whence taken to England and passed finally to Mr. Champion for £5,000; sold by Mr. Pinny (1824) to Prince of Orange for 2,500 guineas; sale of William II. (1850) to Lord Hertford, 18,375 francs. Engraved by Kraaft; Van Eisen; Winstanley. Same subject, different composition, painted for chapel of tomb of Jan Brueghel, in Chartreux, Brussels.—Smith, ii. 51; Waagen, ii. 157.

Subject treated also by Jacopo da Empoli, Trinità, Florence; Guido Reni, Cathedral of Fano; Heinrich von Hess, Church of All Saints, Munich; Jean François Brémond, Church of La Villette, Paris; Girolamo Mutiano, chapel in St. Peter's, Rome.

PETER, ST., DELIVERANCE OF, Raphael, Stanza d'Eliodoro, Vatican; fresco, dated 1514. In three compartments: middle, the angel awakening St. Peter, who lies between two slumbering guards; at right, he is leaving the prison with the angel, passing soldiers asleep on the steps; at left, the keepers awaking in dismay at the escape of their charge. In allusion to the escape of