FIX US 1492-94 in the Vatican still exist, but those painted (1495) in the Castle of S. Ajigelo are no longer extant. To finish such vast works so rapidly many assistants were need- ed, and the result achieved represents rather the skilled labour of art than exceptional talent. About 1495 Piuturicchio painted a series of frescos from the life of S. Bernar- { dino, in the Bufalini Chapel in Aracceli, Rome, in a purer and better style than had been his wont. The Madonna and St. John the Baptist, in the Perugia Academy, and the Madonna and Donor, in the Duomo of S. Severino, belong to a little later period, while the important frescos of the Annun- ciation, Nativity, and Christ disputing with the Doctors, in S. M. Maggiore at Spello, were painted about 1501. The next year he was engaged by Cardinal Piccolomini to decorate his family chapel, the so-called Li- brary, in the Duomo, Siena, with frescos illustrating the history of the great Piccolo- mini Pope, Pius II., the learned ^-Eneas Sil- vius, which he completed in 1507 with the aid of many apprentices, one of whom was Ilaphael, who came to Siena in 1503. Va- sari's statement that Ilaphael designed the whole series is probably greatly exaggerated, , but his drawings in the Uffizi, at Perugia, and at Chatsworth, of single figures and draperies of two of these frescos, proves that it is not altogether untrue. His co- operation is also substantiated by the fact that Pinturicchio introduced him as a spec- tator in the fresco of the Canonization of St. Catharine. Pinturicchio's last authentic picture is a cabinet miniature of Christ bear- ing the Cross (1513), Palazzo Borromeo, Mil- an. Among his easel pictures in galleries ! are : Altarpiece, Perugia Academy ; Holy j Family, Siena Academy ; Coronation of the Virgin, Vatican ; Adoration of the Magi, Pa- lazzo Pitti, Florence ; Reliquariurn with SS. Augustine, Benedict, and Bernard, Madonna, Berlin Museum ; several Madonnas, Lou- vre ; St. Catharine, Madonna, Return of Ulysses (fresco transferred to canvas), and the Story of Griselda (3, in tempera on wood), National Gallery, London. C. & C., Italy, iii. 256 ; Vasari, ed. Le Mon., v. 261 ; ed. Mil., iii. 493, 529 ; Burckhardt, 571 ; Ch. Blanc, iJcole ombricnne ; Vermiglioli, Mem. di Bern. Pinturicchio (Perugia, 1837); Liibke, Geseh. ital. Mai., i. 38, 438. PINUS, CORNELIUS, Roman painter, about A.D. 70. Decorated, together with At- tius Priscus, the Temple of Honos and Vir- tus, near the Porta Capena, Rome, when it was restored by Vespasian. Pliny, xxxv. 37 [120J ; Sillig, 357. PIOLA, DOMENICO, born in Genoa in 1628, died there in 1703. Genoese school ; brother and pupil of Pellegro Piola ; after- wards studied under Cappellino. Associated with Valerio' Castello, he executed large mural paintings in S. M. clella Passione and S. Marta, Genoa, and painted many frescos in his style. Afterwards adopted the man- ner of Pietro da Cortoua. His works are in many churches and l ~i f^ palaces in and around ^^ J (jO Genoa. Domenico had S s t three sons who were V^f " painters Antonio Maria (1654-1715), Gi- ambattista, and Paolgirolamo (1666-1724). Lanzi, iii. 261 ; Ch. Blanc, Ecole gvnoise. PIOLA, PELLEGRO, born in Genoa in 1617, died there, Nov. 24, 1640. Genoese school ; pupil of Giovanni Domenico Cap- pellino, who was a disciple of Paggi, but formed his style on study of the best mas- ters. Displayed exceptional talent before he was assassinated at the age of twenty-three. Works : St. Ursula, Palazzo Brignole sale, Genoa ; Madonna del Rosario, Genoa Acad- emy ; Madonna and St. John, Uffizi, Flor- ence ; Bacchante, Turin Museum ; Unus Vestrum, S. Stefano, Genoa ; Madonna, Pa- lazzo Brignole, ib. ; SS. Peter and John cur- ing the Paralytic, Carignano Church, ib. Lanzi, iii. 260 ; Ch. Blanc, Ecole geuoise ; Burckhardt, 787 ; Lavice, 84. PIOMBO, Fra SEBASTIANO DEL, born in Venice (?) in 1485, died in Rome, June 21, 1547. Venetian school ; real name Luciani, but commonly called as above from the office 447
