Pase. See Pace.

Pellegrino (or Martino da Udine, or, da San Daniele). Madonna and Saints. The Virgin bears the infant Christ on her left knee. Behind the Virgin are the prophet Daniel and St. Catherine of Alexandria, and beyond them to the right and left are SS. Jerome and Anthony, while the donor and his wife (?) kneel in the foreground. On wood: 2 ft. 4 in. by 3 ft. 4 in.

66

Although this picture has not escaped retouching, it retains sufficient of the original work to render it impressive and interesting. The colours are pure and luminous, especially in the flesh The Virgin's face, with downcast eyes, is beautiful. The hands are admirably painted." (Eastlake.)

tones.

151. The Annunciation. Painted in 1519 for the Tailors' Guild at Udine, and is a reduced replica of the same subject in Sant' Antonio. Signed: "Pellegrinus Faciebat P.P." From these last letters Herr Harzen concluded that the celebrated engraving, "Triumph of Selene," was also by Pellegrino. It is dated 1519, with an inscription. It is now greatly repainted. Canvas: 6 ft. 3 in. by 11 ft. 4 in.

The execution of this work is distinguished by solid painting and accurate delineation, especially in the architectural portions of the scene, which are carefully detailed.

148.

150.

The Annunciation. The Angel Gabriel.

The Annunciation. The Virgin.

Two panels forming a diptych, formerly in the Scuola. di San Francesco, Treviso. Each: 6 ft. 1 in. by 2 ft. 7 in. "The angel is gracefully posed, and draped with admirable taste." (Eastlake.)

85. Pennacchi (Girolamo). Christ Disputing with the Doctors. Presented by Molin. On wood: 5 ft. 8 in. by 4 ft. II in.

"This is a coarsely painted work. out reference to technical details, it (Eastlake.)

Regarded as a design, withis solemn and impressive."

617. Pennacchi (Pier Maria) (?). Madonna Enthroned with Saints. On the left SS. Lawrence and Jerome; on the right. SS. Stephen and Liberale. Two little angels performing, one on a vial, the other on a mandoline, sit at the Virgin's feet. Around her head hover cherubim. Formerly at Padua. Transferred from wood to canvas: 4 ft. 9 in. by 6 ft. 9 in.

"The best figure in the composition which possesses a formal grace is that of St. Stephen." (Eastlake.)

F

96.

The Transfiguration. The Saviour between Moses and Elias. Formerly in Santa Margarita, Treviso. On wood.

483. Piazetta (Giov. Battista). Venetian: 1672-1754. A Soothsayer (?). Canvas: 5 ft. 1 in. by 3 ft. 10 in.

Pietro da Cortona. See Berrettini.

374. Playnel. Fl. 1633. An Encampment.

375. Another Encampment. Presented by Molin. On copper: each, 1 ft. 6 in. by 2 ft. 1 in.

143. Poelenburgh (Cornelis Van). Landscape with Waterfall and Figures.

Dutch: 1586-1667.

110. Landscape: Nymphs and Satyrs Bathing. Canvas: each 1 ft. 11 in. by 7 in.

Polidoro (Veneziano). See Lanzani.

303. Pordenone (Giov. Antonio da). Called Licinio. *Portrait of a Woman. A stout, middle-aged woman, in a black dress with white fichu. Canvas: 2 ft. 8 in. by 2 ft. 6 in.

"This is an admirable portrait. The features have no physical beauty, but are admirably modelled, and the delicate flesh tones are rendered with consummate skill." (Eastlake.)

316. - *San Lorenzo Giustiniani surrounded by Saints. This is considered his masterpiece. It was painted for the altar of the Renieri in the Church of Madonna dell' Orto. It is signed "Joannis Antonii Portunaensis." Canvas: 13 ft. 6 in. by 7 ft. 3 in.

St. John the Baptist presents a lamb to St. Francis kneeling, in presence of St. Augustine and St. Lawrence. The figure of the Baptist is admirably life-like, and Michael Angelo himself rarely did anything better. The outstretched arm of St. Augustine, on left, seems to come out of the picture, and the head of San Lorenzo Giustiniani is remarkable. The latter was painted from a portrait of the fifteenth century.

San Lorenzo was nominated the first Patriarch of Venice in 1451. (For an account of his life see under Marco Vecelli in "Sala del Senato," of Doges' Palace.) His features here suggest those of Dante. Marco Boschini ingeniously praises this work by saying that "it was done by the Vice-Titian, Antonio Regillo da Pordenone." Pordenone was very jealous of Titian, and tried always to surpass him. Pordenone was painting in the cloisters of St. Stefano he always had his sword by his side, foolishly fearing in his conceit that Titian would send emissaries to kill him.

When

"We can see that a supreme effort is made to produce a grand impression. Inspired gravity dwells in the ascetic Lorenzo, life and motion in the saints that attend him. The figures are, as usual, gigantic and without elevation, and it is a mummery to present such athletes in holy garb. Where Pordenone shows real mastery is in the handling.' (C. & C.)

"In spite of all the various looks and gestures, the figures appear as if they did not know what to say to each other." (Burckhardt.)

321. Madonna of Mercy of the Carmelites. Two angels hold up the Virgin's mantle, and two saints are at her sides, the "Beato" Simon Stock, and the "Beato" Angelo. Painted for the Ottobon family at Pordenone, seven members of whom kneel and stand in front. Canova purchased this picture in Rome. Later it was in his chapel at Possagno, in the Trevisan marsh. It came by exchange to the Academy. Though much injured, this picture is very graceful, and the figures are free from the disproportion which frequently characterises Pordenone's work. Canvas 9 ft. 43 in. by 9 ft. 10 in.

"What specially distinguishes the figures is an almost absolute freedom from exaggeration of posture. (C. & C.)

St. John the Baptist. Canvas: I ft. 11 in. by I ft.

311. Cherubs on Clouds. Perhaps once part of a ceiling. Presented by Molin. On wood : 2 ft. 11 in. by 3 ft. 33 in. 304. Copy of Pordenone. Portrait of a beautiful Blonde Woman in a Black Gown. Canvas: 1 ft. 61⁄2 in. by 1 ft. 53 in.

298. A Man Praying.

Porta (Giuseppe) called Salviati. See Salviati.

Canvas: 1 ft. 34 in. by 1 ft. 4 in.

Flemish 1569-1622.

Pourbus (Francis) the younger.

Portrait of a Flemish Cavalier. Presented by Molin. On

wood 1 ft. 4 in. by 1 ft. 2 in.

348. Copy of Poussin (Niccolò). quired from Parisi. Canvas: 3 ft. 11

Repose in Egypt. Acin. by 5 ft. 1 in.

70. Ascribed to Previtali (Andrea). Some consider this painter identical with Cordegliaghi. (See account of the life of Previtali in Part II.) Madonna with SS. John the Baptist and Catherine. On wood I ft. 8 in. by 2 ft. 8 in.

"This piece combines all the elements of progress in the Venetian School of the opening of the career of Giorgione and Titian. There is something still of Bellini's serious comprehension of form, but the colour and landscape are Titianesque. The picture has not the power.ul handling of Giorgione, yet seems by some one under