837 



PINTELLI, BACCIO. 



PINTURICCHIO, BERNARDINO. 



4-5,' which he published at London in 1806, exposed him to much 

 ridicule by the Frenchified style of thinking and air of petit-maitreship ' 

 affected by the quondam laborious antiquary. Returning however to 

 his proper beat, he commenced in 1808 his great ' General Collection 

 of Voyages and Travels,' which was completed in 16 vols. 4to in 1813. 

 This was accompanied by a ' New Modern Atlas,' published in parts, 

 which was begun in 1809 and finished in 1815; and while occupied 

 with these compilations he also found time to write his ' Petralogy, or 

 a Treatise on liocks,' which appeared in 2 vols. 8vo in 1811, and was 

 hia last original work. He died at Paris on the 10th of March 1826. 

 The above detail of his literary labours is evidence sufficient that 



learning, but bear upon them the impression of a vigorous and original 

 mind. His violence and dogmatism, his arrogance and self-conceit, 

 his pugnacity and contempt for all who dissented from his views, and 

 above all his shallow and petulant attacks upon the common creed in 

 religion and morals, are however unhappily even more prominent 

 than his learning and ingenuity. Two octavo volumes of his corres- 

 pondt-nce were published in 1830, the contents of which however are 

 of little interest. 



PINTELLI, BACCIO, the architect of the Capella Sistina. He is 

 supposed to have ben a Florentine. He was very active in Rome in 

 the pontificate of Sixtus IV. (1471-84), for whom the Capella Sistina 

 was built. This chapel architecturally is of little interest, but aa 

 containing some of the greatest works of modern painting it is of 

 considerable importance in the history of art ; it is a simple rectan- 

 gular oblong, with a vaulted roof: 132 feet 8 inches long, 43 feet 

 wide, and 57 feet 10 inches high. (See Ground-plan and Section* in 

 the Appendix No. 14 to the Third Report of the Commissioners on 

 the Fine Arts.) The fresco of the 'Last Judgment,' by Michel 

 Angelo, on the altar-wall, is 47 feet 1 inch in height, and 43 feet wide. 

 The chapel was built in 1473 ; the fresco was painted in 1533-41, for 

 Pope Paul III. The Sistine Chapel is the especial chapel of the pope, 

 and the Church ceremonies of the first Sunday in Advent, and of the 

 Holy Week, are always performed in it ; the scrutiny also of the votes 

 for the popeiiom takes place in this chapel, when the Conclave is held 

 in the Vatican. Before the execution of the ' Last Judgment,' two 

 horizontal series of paintings went round the chapel below the win- 

 dows, of which there are six on each side ; the upper is a series from 

 the Old and New Testaments, illustrating the acts of Moses and of 

 Christ ; the second, or lower, consists of imitations of hangings, with 

 the arn.s of Sixtus IV. The side walls remain as they were originally 

 painted, and on great festivals of the Church the painted hangings 

 used to be formerly covered by the tapestries made for the purpose 

 from the celebrated cartoons of Raffaelle which are now preserved 

 in the corridor in the museum of the Vatican, built for them by 

 Leo XII.; they were placed in the museum by Pius VII. in 1814, in 

 the apartment* of Pius V. There are twenty-two tapestries in all, 

 but only ten are in the style and of the size of the cartoons at 

 Hampton Court ; the rest were not ordered or purchased for the 

 Sistine Chapel. The subject of these ten is the history of the 

 Apostles; and besides the seven at Hampton Court there are the 

 following three : the 'Martyrdom of St. Stephen,' 'St. Paul in Prison 

 at Philippi during the Earthquake,' and the ' Conversion of St. Paul.' 

 The ten cartoons of these tapestries were executed in 1515 and 1516 

 by the order of Leo X., and Raffaelle received for them about' fifteen 

 pound* each. The second set of tapestries of the ' Life of Christ,' 

 which are larger than the others, are supposed, from their style aud 

 their bad drawing, to have been executed from cartoons made by 

 Flemish masters, probably Van Orlay and Michael Coxis, from small 

 sketches by Raffaelle, and certainly not from cartoons from Rafiaelle's 

 own hands. The two seta are called 'Delia Scuola Nuova* and 

 ' Delia Scuola Vecchia,' those ordered by Leo X. being of the ' Scuola 

 Vecchia.' 



The ceiling of the Sistine Chapel is decorated with the frescoes 

 executed in 1512 by Michel Angelo, illustrating the creation of man, 

 the fall, and the early history of the world. Michel Angelo intended 

 to paint the ' Fall of Lucifer ' on the wall opposite the ' Last Judg- 

 ment,' but this design was never carried into execution. The whole 

 Ferirs of illustrations would have represented the complete cycle of 

 the creation and fall of man, and bis final salvation, if this last design 

 had been executed; it would have offered one vast 'speculum humame 

 salvationis,' as such a series was termed by the early artists of the 

 Roman Catholic Church ; it repeatedly occurs in early manuscripts. 



Pintelli was the principal architect of Sixtus, and he executed 

 several other important works for this pope. Between the years 1472 

 and 1477 Pintelli erected the church and convent of Santa Maria del 

 Popolo, in the church of which he built a beautiful chapel for Dome- 

 nico della Rovere, cardinal of San Clemente, and, according to Vasari, 

 nephew of Sixtus IV. : he built a palace for the same cardinal at the 

 llorgo Vecchio. About 1473-75 ho built the old Library of the 

 Vatican : Platina was installed by Sixtus as librarian in 1475. Fintelli 

 restored also the hospital of Santo Spirito in Sassia, which was burnt 

 down in 1741. He built also the 1'onte Sisto over the Tiber; the 

 churches San Pietro in Viuculia, Sant' Agoatino, Santa Maria della 

 Pace, ajid Sant' Apostolo (since rebuilt) ; and probably San Pietro in 



Montorio and San Jacopo were built from his designs. In 1480 

 Pintelli strengthened the celebrated church and convent of San Fran- 

 cesco at Assist by raking enormous buttresses against the northern 

 walls. 



Dr. Gaye (Kunstblatt, 1836) attributes some other works in Rome 

 to Pintelli, and he has shown that after the death of Sixtus, in 1484, 

 he went to Urbino to continue the ducal palace of.Urbino, which 

 Lucianus Lauranna of Slavouia had been engaged upon from 1468 

 until 1483, for Federico II., duke of Urbino. Pintelli may have 

 remained at Urbino until 1491, when be built the church of Santa 

 Maria delle Grazie at Sinigaglia, for the Duke Giovanni della Rovero. 

 He probably died at Urbino, where he was apparently naturalised, as 

 he took the surname of Urbinas. He appears to have been influenced 

 by the style of Brunelleschi in his designs, in which there are still 

 characteristics of the previously prevailing pointed architecture. His 

 works are said to be well constructed, as appears from the cupola of 

 Sant' Agostiuo and the Ponte Sisto, still iu perfect state of pre- 

 servation. 



PINTO, FERNAM MENDEZ, a celebrated Portuguese traveller, 

 was born at Montemor-o-Velho, near Coiinbra, of obscure parents, 

 about 1510. He entered the service of a Portuguese gentleman, in 

 which he continued eighteen months. An adventure, by which he 

 had well nigh lost his life, but which he does not disclose, obliged 

 him to emigrate, and he sailed in a vessel bound for the East ludies. 

 Scarcely however had he lost sight of the coast of Portugal when 

 the vessel was attacked and plundered by pirates, and Pinto was 

 obliged to return to Lisbon, where he entered the service of Dona 

 Francisco de Faria. Some time after, with the expectation of making 

 his fortune, he embarked for India, and arrived at Diu iu 1537, where 

 he enlisted among the crew of a vessel designed to cruise against the 

 Turks. He was captured at the entrance of the Red Sea, carried to 

 Mocha, and there sold to a Greek renegade, and afterwards to a Jew, 

 in whose possession he remained till he was redeemed by the Portu- 

 guese governor of Ormuz, who procured him the means of going to 

 India. On his return to that country, Pinto met at Goa the captain- 

 general of Malacca, Pedro de Faria, who took him into his service, and 

 gave him the command of a small vessel employed in the trade with 

 China, Having been attacked at the mouth of the river of Lugor by 

 a Chinese pirate, who boarded aud plundered his vessel, Pinto, 

 though wounded, succeeded in making his escape, and arrived at 

 Pattan, on the gulf of Siam. 



Antonio de Faria (a brother of Pedro), on hearing the news of the 

 loss of the vessel, swore he would have his revenge, and having 

 enlisted a crew of Portuguese adventurers, aud Pinto among them, 

 he sailed from Pattan on the 19th of May, 1540. The Chinese pirate 

 was overtaken, his vessel captured, and himself put to death. From 

 this period Pinto's life seems to have been one of constant vicissitudes. 

 He was one day the master of countless treasures, on the next groan- 

 ing in captivity. In the intervals he was employed on a mission to 

 Japan, and in other important transactions, which he fully describes 

 in his work. He seems even to have entered at one time the Jesuit 

 convent at Malacca, a circumstance which explains why the earliest 

 account of his travels is found in the first collection of their letters, 

 published in Italian, at Venice, in 1565, in letters written by him, 

 and dated from the convent. He was present at the death of San 

 Francisco Xavier; and Lucena, in his Life of that saint (' Historia da 

 Vida do Padre Francisco Xavier,' Lisb., 1600), admits that he derived 

 most of his information from papers procured from Pinto's widow. 

 After twenty-one years' residence in various parts of the East ludies, 

 China, Japan, Siam, &c., Pinto returned to his native country iu 1558 

 (28th of September). He died at Almada, near Lisbon, but the year 

 of his death is not known. The history of his travels and adventures 

 was written for the amusement of his children. It abounds in gross 

 exaggeration, and although there can be no doubt that Piuto visited 

 the countries which he describes, it is also an ascertained fact that 

 most of his descriptions are altogether imaginary, aud that whatever 

 curious and important matter is contained in hia work is adulterated 

 with idle and extravagant fictions. His expedition to the island of 

 Calempluy, where, he tells us, "he saw the tombs of the emperors of 

 China," and his route by land through part of the Chinese empire, 

 are of this kind. Pinto's travels were not published until many years 

 after his death, by Francisco de Andrade, Lisbon, 1614, in 4to, under 

 the title of ' Peregriuacam de Fernam Mendez Piuto,' &c. Six years 

 after they were translated into Spanish by Francisco de Herrera, who 

 added a prefatory discourse, intended to establish the authenticity of 

 the narrative, Mad., 1620, fol. They were translated into French by 

 Bernard Figuier (Paris, 1628 and 1645, in 4to, and 1830, 3 vols. 8vo), 

 and into English by H. Cogan (London, 1663, and 1692, in fol.). There 

 are also editions of the original Portuguese work (Lisb., 1678, 1711, 

 1725, and 1762), with the ' Itinerario de Antonio Tenreiro.' 



PINTURI'CCHIO, BERNARDl'NO, or BERNARDINO BETTI, 

 was born in 1454 at Perugia. He was a disciple of Pietro Perugino, 

 under whom he made great progress, and was often employed by his 

 master as his assistant. He painted chiefly history ; but he also 

 painted grotesque subjects, and he excelled in portraits. Among his 

 best portraits, peculiar praise is given to those of popes Pius II. 

 and Innocent VIII., of Giulia Farnese, Cesare Borgia, and Queen 

 Isabella of Spain. Ho executed numerous works at Rome and other 



