PACHECO, FRANCISCO. 



PACIO, QIULIO. 



He WTU th first likewise who punted the figure* and grounds o 

 bani-rilievi ; there are several works of both descriptions by Pacbcc 

 la Seville. 



In 1600 he was appointed, together with Alonzo Vazquez, to paint 

 isrisi of large picture* illustrating the life of St. Ramon for the cloiste 

 of the convent of the Merced, In 1603 he executed some works in dia 

 temper in the palace of Don Fernando Henriquez de Ribera, thirc 

 duke Je Aloala, from the story of Dedalus and Icarus. 



It was not till 1611 that he visited Toledo, Madrid, and the Escuria 

 and saw the great works of Titian and other celebrated Italian am" 

 Spanish masters. The sight of the excellent works which he saw o: 

 this occasion impressed him forcibly with the varied and inceesan 

 application requisite to form a great painter. Accordingly upon hi 

 return to Seville he opened a systematic academy of the arts, as we] 

 for his own improvement as for the benefit of the rising artiata o 

 Seville ; and the fact alone that Alonzo Cano and Velazquez were tw 

 of his scholars, shows that his system worked with some effect. Th 

 improvement he himself acquired by such elementary instruction, am 

 from the true principles of art, is shown by his great picture of th 

 ' Last Judgment,' an altar-piece finished in 1614 for the nuns of th 

 convent of St Isabel, whioh he has himself described at great lengtl 

 in his treatise on painting. It was a large work containing man; 

 figures and many incidents, but Pacheco received ouly 700 ducats 

 for it 



In 1618 Pacheco was appointed by the Inquisition one of the guar 

 dians of the public morals, in as far as he was made censor of all th 

 pictures which were exposed for sole in Seville ; nakedness was pro 

 hibitad, and it was Pacheco's business to see that no pictures of the 

 naked human form were sold. It is to such formal morality aa this 

 that the Spanish school of painting owes its characteristic ponderous 

 sobriety, and is so directly opposed to Italian painting. Prudery was 

 carried so far in Spain, that in the time of Ferdinand VII. even all the 

 great Italian works which could be reproached with nudities were 

 removed from the galleries, and were condemned to a distinct set o 

 ag artmcntfl called the Galena Iteservada, and only opened to view to 

 those who could procure especial orders. " Nothing," says Mr. Fort 

 in hii Handbook of Spain, " gave the holy tribunal greater uneasiness 

 than how Adam and Kve in Paradise, the blessed souls burning in 

 purgatory, the lady who tempted St Anthony, or the Last Day of 

 Judgment, were to be painted, circumstances in which email-clothes 

 and long-clothes would be highly misplaced. Both Palomino (ii. 137 

 and Pacheco (201) handle these delicate subjects very tenderly 

 Describing the celebrated Last Judgment of Martin de Vos, at Seville, 

 Pacheoo relate* how a bishop informed him that he had chanced 

 when only a simple monk, to perform service before this group ol 

 nakedness; the mitre hail not obliterated the dire recollections; he 

 observed (he had been a sailor in early life) that rather than celebrate 

 mass before it again, he would face a hurricane in the Gulf of Ber- 

 muda; the moral effect of the awful Day of Judgment was so much 

 counter-balanced by the immoral deshabille." 



In 1623 Paobeco again vinted Madrid, in company with his distin 

 guiohcd scholar and son-in-law Velazquez, and he remained two years 

 in the Spanish capital. Velazquez went to Madrid by the invitation 

 of the Duke de Ulivarei, who procured him the appointment of painter 

 to the king, Philip IV. It was at this time that Velazquez painted 

 bis equestrian portrait of Philip, upon which Pacheco wrote a sonnet, 

 in which Philip was compared with Alexander, and Velazquez with 

 Apellem, 



Pacheco, daring this viiit to Madrid, among many other works, 

 executed one which hardly accords with the present notions of the 

 occupation of a great painter, though it baa been the practice of great 

 artist* from very early age* to paint their statue*. [Nicus.] Pacheco 

 dressed, gilded, and painted (estofo) for the Duchess of Olivaros, a 

 statue, probably of wood, of the Virgin, by Juan Qomez de Mora, 

 for 2000 real*. The work was much admired, and by none more than 

 Eugenie Caxe*, who, say* Cean Bermudez, estimated the decoration at 

 COO ducats. What this process exactly was it i* not evident from this 

 mere mention ; bat the object generally in the*e painted wooden 

 images appears to have been to obtain an exact imitation in the 

 minutest detail perpetual facsimiles. The effect of such images, 

 called ' Paso*,' must be experienced to be comprehended. The 

 Spaniards dress them as well as paint them. Their churches were 

 crowded with *uch work*; but most have now been removed to 

 museums. 



Pacheco returned to Seville, where hi* house became a chief resort 

 of all men of art, of literature, and of taste ; and among his most 

 intimate associate* were the Jesuits of Seville, who aaiuted him in 

 his ' Arto do la Pintura,' and were indeed the author* of that part 

 which i* devoted to *aored art ; and doubtleu to them is due the 

 auatere morality which characterise* Pacheco'* principles of art. He 

 is noticed above as having been the first artist who painted images 

 properly. He published an essay partly on this subject in 1622, com- 

 plaining of sculptor* painting their own itatue*. Hut the generality 

 of ' Dondores ' and ' Estofadores ' worked so badly that such sculptors 

 as Juan Martine* Montane* and Alonzo Cano felt compelled to drew 

 and colour their own statue*. Pacheoo however coloured many statues 

 for UonUfie*, including the St Jerome of the monastery of Santi- 

 ponce. Montane* generally made a contract with hU employers to 



be allowed to superintend the toilet of his own statues. Mr. Ford 

 gives some curious details about the toilets of these Spanish images. 

 No mail is allowed in Spain to undress the 'Paso,' or 'Sagrada 

 Imagen ' of the Virgin ; and some images had their mistresses of the 

 robes ('camerera mayor') and a chamber ('caincriu') where their 

 toilet was made. The duty has however now devolved upon old 

 moid* ; and " ha quedado para vestir imagines " (she hag gone to dress 

 images) has become a term of reproach. 



Pacheco died at Seville in 1654. His works, though not vigorous, 

 ore correct in form, effective in light and shade, studied in composition, 

 and simple in attitude ; hut they have little colour, are dry, and rather 

 feeble or timid in their handling. Those defects are more apparent 

 when his pictures are seen together with the works of other Andalucian 

 painters, who have generally made colouring their principal study, aud 

 have comparatively neglected purity of form. Besides many religious 

 pictures, he pointed or drew in crayons nearly four hundred portraits, 

 the best of which is that of his owu wife. One of hU sitters also was 

 Miguel Cervantes. 



His 'Arte de Piutura, su Antigiicdad, y Grandezas,' 4 to, Seville, 

 1649, pp. Gil, a remarkably scarce book, is considered an indispensable 

 guide by the painters of the school of Seville ; it is very elementary, 

 and is said aUio to be a work of great learning on the subject, and U 

 held throughout Spain to be the best work on painting in the Spanish 

 language: it is in three parts history, theory, and practice. HH 

 works are seldom seen out of Seville, aud he ii even very inadequately 

 represented in the splendid gallery of the Pratlo at Madrid. llh 

 masterpiece was considered to be the altarpieco of the 'Archangel 

 Michael expelling Satan from Paradise,' which was in the church of 

 San Alberto at Seville. There are still at Seville an altarpiece of the 

 ' Conception of San Lorenzo,' * wo pictures of ' San Fernando ' in San 

 dementi, and a picture in -an Alberto. The methodic system of 

 Cean Bermudez to mention the locale of all the most celebrated works 

 of the great Spanish masters, eventually cost Spain the greater portion 

 of these works, for his dictionary was used by the French generals 

 aud others as au inventory of what was valuable, and directed them 

 to the places where these works were to be found. Not a moiety of 

 the works of Pacheco described by Bermudez as at Seville is now to 

 be found there. Pacheco's own portrait by himself is in the Spanish 

 museum in the Louvre. 



Pacheco collected the poems of his friend Hernando de Herrero, and 

 published them with a portrait in liilU. His owu poems do not appear 

 ever to have been published in a collected form. Bermudez has ]u . 

 a few iu his ' Dictionary.' 



PA'CIO, GIULIO, was born in 1550, at Victnza, in the Venetian 

 itate. He learned Latin, Greek, and Hebrew at an early age, and 

 became well acquainted with every branch of classical learning. Being 

 accused before the ecclesiastical authorities of reading books forbidden 

 by the church of Rome he became alarmed, aud escaped to Switzer- 

 land, where he earned his livelihood aa a teacher. Ho was afterwards 

 appointed professor of philosophy at Heidelberg, where he assumed 

 the name of ' Pacius & Berigo,' from a country-house belonging to his 

 amily near Vicenza, He travelled through Germany and Hungary, 

 and after some years he was invited by the Duke of Bouillon to his 

 newly-established university of S<5dan, where he taught philosophy 

 with great success ; but the civil wan raging iu that part of the 

 country he removed to Xiauies, and thence to Montpcllier, where he 

 was made professor of law in that university about the year 1600. 

 The afterwards celebrated Peiresc was one of his disciples. Henri IV. 

 >estowed on Pacius the honorary rank of king's counsellor. Pacius 

 lad long professed the reformed religion, and Peiresc earnestly but 

 unsuccessfully attempted to induce him to settle near him at Aix, 

 ind to return to the Roman Catholic faith. From Moutpellier, 

 'acius removed to the university of Valence in Dauphind, where his 

 reputation as a jurist increased and spread throughout Europe. He 

 was offered choirs at Leyden, Pisa, and Padua. He chose the lost 

 university, where he was received with great honours, and the Venetian 

 senate made him a knight of St. Mark. After some time however he 

 returned to his family, which he had left at Valence, where he died 

 in 1635. 



Pacio wrote many treatises and commentaries on the Roman law ; 

 among other*: 1, 'De Juris Methodo Libri Duo.' 2, 'Juris Civilis 

 .uuiani Initia ct Progressus,' consisting of a Commentary on the 

 welve Table*, of Notes on Fragment) of Ulpian and Gaiut, on Pom- 

 onius ' De Origine Juris,' and upon the last two titles of the Pandects. 

 , ' Pictuno duai de Gradibu* secundum Jus Civile et Canonicum.' 4, 

 De Contractibus.' 6, ' De Pacti* et Tranaactiouibus.' 6, ' In Decre- 

 Libri V.' 7, ' Cousuetudiue* Feudorum.' Paciu* edited also the 

 ollowing works: 8, 'Corpus Juris Civilis cum Notis et Legum 

 rgumeutis,' fol, Geneva, 1580. 9, 'Juitiniaui Imporatoru Inatitutio- 

 um Libri IV.' 10, ' Saplentissiuii Curopalato) de Otncialibus Palaiii 

 onitantinopolitani et Ufliciis Magnso EcclesUe Libellus,' Greek and 

 atiu, Heidelberg, 1583. He also published several editions of the 

 Jrganon' of Ariitotle, of which he mado anew Latin translation. 

 le al*o edited the works of Aristotle, in 2 vola. 8vo, 1597. His other 

 ork* on variou* subjects are 11, 'In Porphyrii Isagogeu et Arin- 

 iteli* Organum Commentariu* Analyticus,' 4to, Frankfort, J.V.'7. 

 t, 'De Dominio Maria Hadriatici inter Serenissimum Regem Hit- 

 aniarum ob llegnum Neapolitanum ct Serenissimam Rompubl leant 



