821 



OZELL, JOHN. 



PACHECO, FRANCISCO. 



822 



the Academy of Sciences, and died at Paris, of apoplexy, April 3, 1717. 

 The following is a list of big works, in the order of publication : 



1, 'Mdthode pour tracer lea Cadrans,' 8vo, Paris, 1673, 1685, 1730 ; 

 2, ' G<$.>mdtrie pratique,' 12mo, Paris, 1684, 1689, 1738, 1764; 3, 

 'Tables de Sinus, Tangentes, &c.,' 8vo, Paris, 1685, 1720, 1741; 4, 

 'Traite" des Lignes du premier genre,' 8vo, Paris, 1687; 5, 'Usage de 

 I'lustrument universal pour resoudre promptement tous les Problemes 

 de la Geometrie pratique,' 12mo, Paris, 1688, 1700, 1736, 1748, 1794 

 (the instrument referred to is the proportional compass) ; 6, ' Methode 

 de lever les Plans et les Cartes de Terre et de Mer,' 12mo, Paris, 1693, 

 1750 (the same improved by Audierne, 12mo, Paris, 178:2) ; 7, ' Dic- 

 tionnaire Matbdmatique,' 4 to, Auist., 1691 (the same translated and 

 abridged by Raphson, 8vo, London, 1702); 8, 'Cours de Mathe'matique,' 

 5 vols. 8vo, Paris, 1693, Amst, 1699; 9, ' Recreations Mathdmatiques 

 et Physiques,' 4 vols. 8vo, Paris, 1691, 1720, 1725, 1735, 1777 

 (the tamo improved and augmented by Montucla, 8vo, Paris, 1778, 

 1790; the same in English by Dr. Button, 8vo, London, 1803); 10, 

 Traite" de la Fortification,' 8vo, Paris, 1694, 1720 (the same trans- 

 lated by Desaguliers, 8vo, Oxf., Lond., 1711); 11, ' Trigonome'trio,' 

 12tno, Paris, 1698; 12, ' Mdthode facile pourarpenter et mesurer toutes 

 sortes de Superficies, Ac.,' 12mo, Paris, 1699, 1725, 1747, 1758, 1779 ; 

 13, 'Elements d'Algebre,' 8vo, Amst, 1702; 14, 'QtSographie et 

 Cosmographie,' 8vo, Paris, 1711; 15, 'La Perspective, thdorique et 

 pratique,' 8vo, Paris, 1711, 1720. In the 'Memoirs of the Academy 

 of Sciences' for 1707 there is a paper by him entitled 'Observations 

 sur un Problcme de Trigonomc'trie spherique." To the ' Journal des 

 Savans' he contributed: 1, 'Proof of Che Theorem that neither the 

 sum nor the difference of two fourth powers can be a fourth power,' 

 May, 1680; 2, 'Answer to a Problem proposed by M. Comiers,' Nov., 

 1681 ; 3, ' Proof of a Theorem relative to Imaginary Roots,' April, 

 lt>85 ; 4, ' Method of determining the cubic and sursolid roots of a 

 Binomial.' At his death he left a treatise in manuscript upon the 

 Diophantine Analysis, which came into the possession of M. Aguesseau. 

 He also published a corrected and augmented edition of Vlacq's 

 ' Trigonometry,' 8vo, Paris, 1720, 1765. 



(Eloge, par Fontenelle; La Haye, (L'uvrea diverses, 1728-29, fol. iii., 

 p. 260-65 ; Biographie Univertdle ; &c.) 



OZELL,. JOHN, an industrious translator, of the early part of the 

 18th century. He was educated at Ashby-de-la-Zoucb, and at Christ's 

 Hospital, London, where he obtained a tolerable knowledge of Greek 

 and Latin. By bin friends he waa intended for the church, but preferring 

 business he entered an accountant's office, and daring his leisure hours 

 acquired the French, Spanish, and Italian languages. Without giving 

 up his calling as an accountant, Ozell made himself well-known by his 

 translations in those languages, he having among other things published 

 poetic versions of several of the plays of Moliere, Corneille, Racine, the 

 Lutrin ' of Boileau, and the ' Secchia Rapita ' of Tassoni ; and in 

 prose 'Don Quixote,' Rabelais, tho 'Persian Letters,' Vertot's ' Revolu- 

 tions of Rome,' Fe'ndlon on Learning, Nicole's Logic, a Life of Veronica, 

 &c. None of them however are of any very marked excellence, though 



in their days they had doubtless a certain value. His Quixote and 

 Rabelais are poor spiritless renderings. Ozell had tbe ill-luck to get 

 hitched into the Dunciad perhaps, because his name rhymed with 

 Corneille. He was very angry at the distinction, and vented his wrath 

 at the " envious wretch " who placed him there in an advertisement in 

 the ' Weekly Medley ' of September 20, 1729, in which he compares 

 his learning, genius, and poetic skill with Pope's, very much of course 

 to his own advantage : he challenged any one to " show better verses 

 for genius in all Pope's works than Ozell's version of Boileau's Lutrin 

 ... or better and truer poetry in the Rape of the Lock, than in O/ell's 

 Rape of the Bucket (la Secchia Rapita) : surely, surely," he concluded, 

 " every man is free to deserve well of his country." Ozell also pub- 

 lished ' Common Prayer and Common Sense, or Faults in tbe Several 

 Translations of the English Liturgy," 8vo, 1722, in reference to which 

 he says in the above advertisement "every body knows that the 

 whole bench of bishops were pleased to give me a purse of guineas 

 for discovering the erroneous translations of the Common Prayer in 

 Portuguese, Spanish, French, Italian, &c." Ozell died in 1743. At 

 ; his death he held the offices of auditor of Christ's Hospital and St. 

 Paul's Cathedral estates, and he was for many years auditor of the 

 Bridge House estates. 



OZEROV, VLADISLAV ALEXANDROVITCH, the most distin- 



I guished tragic poet that Russia has hitherto produced, was born in tbe 



1 government of Tver, September 29 (October 11), 1770. After passing 



through the usual courae of military service in which, besides other- 



I wise distinguishing himself, he rose to the rank of major-general, he 



exchanged it for a civil appointment, which he held till 1807, when he 



retired from public life. Instead however of devoting himself the 



, more closely to literary studies, he shortly after abandoned them, or 



] at least discontinued writing, disgusted according to his biographer, 



I Prince Viazcmsky, by the envy and enmity which his talents had 



excited. ' Polyxena," which was first performed in May 1809 was his 



! last dramatic production. From that time to his death, which 



happened, after a long and very severe illness, in November 1816, he 



only composed three acts of an unfinished tragedy, entitled ' Medea," 



and sketched the plans of two others, one of which had for its subject 



the siege of Damascus, and is said to have been founded on Hughes's 



K'.iL'lisii tragedy of the same name. 



Although tlie pieces upon which his fame rests do not amount to 

 more than four his flrat drama, entitled ' The Death of Oleg," bearing 

 no comparison with his succeeding ones Ozerov may be considered not 

 in -rely as the reformer, but as in a manner the creator of Russian 

 tragedy. Kniazhin had improved upon Sumarokov, but chiefly in 

 regard to style and manner : neither genuine poetry nor masterly deli- 

 neation of character is to be met with in their tragedies. It was 

 reserved for Ozerov to infuse vitality into the previously cold and life- 

 less form. His ' CEdipus,' 'Fingal,' 'Demetrii Donski,' and 'Polyxena,' 

 are all severally masterpieces, full of poetry; and although simple in 

 plan, and with more of dialogue than action, strikingly dramatic in 

 some of the situations. 



PACCHIAUO'TTO, JA'COPO, one of the most distinguished of the 

 L old Sienese painters, was born at Siena in the Utter part of the 

 15th century ; but though he belongs chronologically to the painters 

 of the 16th century, he is one of the ' quattrocentisti ' in style. His 

 works much resemble those of Pietro Perugino ; at the same time they 

 are more fully developed in form and of wonderful force of colouring ; 

 in expression also many of his heads are admirable. 



He lived in Siena until 1535, when, owing to his being one of the 

 principals in a conspiracy of the people against the government, he 

 was compelled to fly, and he took refuge in France. Lanzi says that 

 he would certainly have be?n hanged had he not been protected by 

 the Osservanti monks, who concealed him for some time in a tomb. 

 He succeeded in making his escape, and joined II Rosso in France, 

 where he in all probability ended his days not very long afterwards, as 

 nothing further is known of him, and he does not appear to have left 

 nny works in France. 



There are (till several excellent paintings, both in oil and in fresco, 

 by Pacchiarotto, in Siena. There is a beautiful altar-piece in San 

 Cristoforo ; and some excellent frescoes in Santa Caterina and San 

 liernardino. Speth takes particular notice of these frescoes in his 

 ' Art in Italy,' and terms Pacchiarotto the second hero of the Sienese 

 school Razzi, called Sodoma, being the, first. They are highly praised 

 also by Lanzi. In Santa Caterina is the ' Visit of Saint Catherine of 

 Siena to the Body of Saint Agnes of Montepulciano,' in which are 

 heads and figures worthy of Rafftelle. According to Speth these 

 works can be justly compared witli Raffaellu's alone ; and he adds, 

 that designating Pacchiarotto as of the school of Perugino is only 

 magnifying the injustice he had already undergone in having bin works 

 long reported as the works of Perugino. If therefore he were the 

 pupil of Perugino, " what Perugino supplied was only the spark," says 

 Hpeth, " which in Pacchiarotto grew into a flame." 



Pacchiarotto has suffered tbe same misfortune that many other 



excellent masters have undergone, owing to their, being omitted by 

 Vasari their merits have remained long unrecognised. Pacchiarotto 

 is probably the Girolamo di Pacchia wbo is casually mentioned by 

 Vasari in speaking of II Sodoma : they painted together in San 

 Bernardino. 



There are two beautiful small easel pictures in oil and on wood in 

 the Pinakothek at Munich by Pacchiarotto San Francesco d'Assisi, 

 with two angels in tbe background ; and the Madonna and Child, 

 with four angels in the background"; half-length figures in both. 

 They are two of tho best pictures in the collection, in character, 

 colour, and execution, and are among the best specimens of the 

 beauties of the early Italian schools of painting. They were formerly 

 in the church of San Bernardino at Siena, but were purchased about 

 1818 by the late king of Bavaria. Ludwig I., then crown-prince. 

 (Lanzi, Storia Pitlorica, <kc. ; Speth, Kunst in Italien, vol. ii.) 

 PACHE'CO, FRANCISCO, was born of a good family at Seville, 

 in 1571, according to his own account, which is nine years earlier than 

 the date given by Palomino. He was nephew of Francisco Pacheco, 

 canon of the cathedral of Seville, a distinguished divine and a cele- 

 brated Latin poet. Pacheco's master was Luis Fernandez, a painter 

 of serges, &c., at Seville : he never was in Italy, as Palomino has 

 wrongfully inferred from two passages in his treatise on painting ; he 

 studied exclusively in Seville. His first works worthy of notice were 

 two large flags or standards for the Spanish fleets of New Spain and 

 Tierrafirma, painted in 1594, in oil on crimson damask, each thirty 

 yards by fifty ; the paintings were the royal arms of Spain, and St. 

 lago on horseback, with rich borders and other decorations. He was 

 one of the principal painters employed on the great decorations of the 

 funeral or catafalque of Philip II. of Spain in the cathedral of Seville 

 in 1598. He was also the first, says Cean Bermudez, in Seville who 

 properly painted and gilded statues " el primero en encarnar y 

 estofar bien las oatatuas;' thin colour was painted over tbe gold. 



