PAINTING 
Pericles, fiift encouvaged painting with a 
national view, 245, 6. 
Perfians, ancient, did not excel in painting, 
208, 
Phidias, the Greek fculptor, 209. 
Pliny’s account of the origin of painting, 
*07; of Egyptian painting, 208; of mo¬ 
nochromatic painters, 209 ; of Grecian 
painters, 210, in; Roman, 212, 251; 
encauftic-painting, 215. 
Polembourg, an ancient painter of the Dutch 
fchool, 228. 
Polycletus’s rule, 247. 
Polygnotus, an early Greek painter, 209. 
Portrait-painting, 249. 
Pouflin, the laft great artift of Italy, 227; 
difliked the French ftyle, 229; his land- 
fcapes, 252. 
Protogenes of Rhodes, 211; how highly 
honoured, 212. 
Purple of the ancients, 219. 
Raphael d’Urbino, founder of the Roman 
fchool, 224; compared with Michael 
Angelo, 225 ; his draperies, 238, 9 ; fome 
improprieties of his pointed out, 240, 1 ; 
his portraits, 249. 
Rembrandt, the head of the Dutch fchool, 
228 ; chara&er of his paintings, 229, 237. 
Reynolds, fir Jolhua, his remarks on an¬ 
tique painting, 214 ; on the qualifications 
of Michael Angelo, 223; of Louis Ca- 
racci, 227; of Rubens, 228 ; firft prefi- 
dent of the Royal Academy, and founder 
of the Englilh fchool of painting, 232 ; 
excelled in portrait, 233, 249; and in 
hiftorical painting, 233; his admiration 
of Michael Angelo, 234; not fo atten¬ 
tive to corredtnefs of outline as to general 
effect, 235 j his colouring, 237, 247 ; his 
abfurd reprefentation of Mrs. Siddons, 
240, r. 
Richardfon, a bad painter, but a good writer 
on the art, 231, 232. 
Romans, late in cultivating the arts, except 
the art of war, 212 ; held painting to be 
effeminate and difgraceful, 213 ; accord¬ 
ingly their artifts were Greeks, 217. 
Rome, modern fchool of, 223, 228. 
Romney, an hiftorical painter, 233. 
Royal Academy, foundation of, 232 ; faid 
by fome to have done no great fervice to 
the arts, 233. 
Rubens, the founder of the Flemi/h fchool, 
228; employed in England, 231; his 
ftyle of colouring, 236, 237; his ana- 
chronifms, 240. 
Salvator Rofa, an admirable landfcape- 
painter, 252. 
Saxon painters, abfurdities of, 240. 
Schools of painting, 222; can hardly be 
faid now to fubfilt, 229; their characters 
diftinguiihable, 234. 
Sculpture, as pradtifed by the ancient 
Greeks, 209 ; to a wonderful exfent, 213; 
but, upon the revival of the arts in Italy, 
became fubordinate to painting, 2i4» 5- 
Sheldrake’s account of the painting of the 
Venetian fchool, 225, 6. 
Stucco-painting, dry, 255. 
Ten Kate, a Dutcli painter, 249. 
Teniers, his pafticci, or imitations of other 
mailers, 243 ; fond of the grey tint, 
247. 
Thornhill, fir James, the firft Englilh hifto¬ 
rical painter, 231 ; eftablilhed a fchool for 
drawing, which, with that of Mofer, led 
259 
to the inftitution of the Royal Academy* 
.232. 
Timanthes, a Grecian painter, 210. 
Tintoretto, or Giacomo Robufti, 225. 
Titian, the head of the Venetian fchool, 
225 ; compared with Rubens, 228 ; his 
colouring, 236 ; eminent in portrait, 
249; his method of portrait-painting dif¬ 
ferent from that of Rembrandt, 250 ; his 
landfcapes, 252. 
Van Eyck, the probable difeoverer of oil- 
painting, 223, 228. 
Vander Meulen, a battle-painter, 230. 
Vandyke, his great merit encouraged in Eng¬ 
land, 231; his ftyle of colouring, 2375 the 
excellence of his portraits, 249. 
Vanherman’s procefs for making paint with 
filh-oil, 256, 7. 
Vanmander’s account of the rife of oil- 
painting, 223. 
Venetian fchool of painting, 225. 
Vernet, a French landfcape-painter, 230. 
Verrio, patronifed and over-paid by Charles 
II. 231. 
Vigr.ola, an Italian architect. 253. 
Vitruvius, his mention of encauftic-paint- 
ing, 215- 
Vouet, a French painter, 229, 
Water-colours for houl'e-painting, 233 ; var— 
nilhed, 254. 
Watteau, a painter of merit, 230. 
Wax-painting, 215. 
Weft, a great hiftorical painter, 232, 233. 
Wilkie, an eminent living painter, ibid. 
Wilfon, a very eminent landfcape-painter, 
233*2-52,3. 
Zeuxis of Heraclea, a diftinguiflied Grecian 
painter, 210. 
P A J 
PAI'NTLICK, a town of the ftate of Kentucky: 
fourteen miles eaft-north-eaft of Stamford. 
PAINTLICK CREE'K, a river of Kentucky, which 
runs into the river Kentucky in lat. 37. 37. N. Ion. 84. 
43. W. 
PAI'NTURE, f. [ peinture , Fr.] The art of painting: 
To the next realm fhe ftretch’d her fway, 
For painture near adjoining lay, 
A plenteous province. Dryden. 
The fhowery arch 
With lifted colours gay, or, azure, gules, 
Delights and puzzles the beholder’s eye, 
That views the watry brede with thoufand thews 
Of paintures vary’d. Philips. 
PAI'NVILLE, a town of Virginia, with a poft-office : 
197 miles weft of Wafhington. 
PAJON' (Claude), a learned French proteftant divine, 
was defeended from a noble family, and born at Romo- 
rentin in the Orleanois, in the year 1626. Having made 
choice of the miniftry for his profeftion, after receiving 
a preparatory education at his native place, he wasfent to 
purfue his academical ftudies at Saumur, where he diftin- 
guilhed himfelf by his proficiency in the various branches 
of learning, as well as by an uncommon degree of pene¬ 
tration and fagacity in his academical exereifes and per- 
fualive powers of eloquence. Thus qualified, at the age 
of twenty-four he was admitted to the miniftry, and be¬ 
came paltor of Marchenoir, in the little province of Du- 
nois. While he continued at this place, the famous Ju- 
rieu, who was then fettled at Mer, had entered into a 
controverfy with a minifter of the name of Buiflbt, who 
leaned fomewhat towards the Arminian fyftem, and ad- 
drefled a letter written againfthim to M. Pajon. Refent- 
ful that our author did not enter into his views of the 
controverfy, Jurieu turned his attack againft him, and 
P A J 
accufed the modifications under which Pajon exhibited 
fome of the dodlrines of the reformed church, of being 
erroneous and dangerous herefies. On the other hand, 
Pajon complained that his dodlrine was either ill under- 
ftood or wilfully perverted. In the mean time, he was 
elected to fill the chair of profelfor of divinity at Saumur. 
His complaints and declarations, however, infteadofdil- 
pofing his opponents to peace, ferved only to provoke 
them to renewed hoftilities ; and Jurieu wrote againft him 
with his ufual virulence, denouncing him as heterodox, 
and, from his ftation, a dangerous underminer of the true 
faith of the reformed church. M. Pajon defended him¬ 
felf againft Jurieu and his party with learning and inge¬ 
nuity, till at length the controverfy between them be¬ 
came fo warm, that he was cited before the lynod of An¬ 
jou, in 1667, to give an account of his doftrine. In this 
aftembly hedifputed againft his adverfaries during feveral 
feffions with fo much fuccefs, that he was difmifled 
without any cenfure, and permitted to retain his profef- 
forfhip. Afterwards, his enemies, becoming more pow¬ 
erful, procured a condemnation of his opinions to be 
palled, and the academy of Saumur obliged thole ftudents 
who applied for their teftimonials to fign that condemna¬ 
tion. In thele circumltances, perceiving that the Protef- 
tants, on account of the prejudices excited againft him, 
declined fending their foils to ftudy at Saumur, he was 
prevailed upon to refign his profelforfhip, and to accept 
the vacant paltoral charge of the church of Orleans. Here 
he fpent the remainder of his life, diligently occupied in 
the duties of his profeftion, and in writing a prodigious 
number of controverfial and other treatifes, which remain 
ftill in manufeript. He died in 1685, immediately before 
the revocation of the edidt of Nantes, when he was in the 
fixtieth year of his age. As an author, he is principally 
entitled to notice for his excellent defence of the Protel- 
tant religion againft father Nicole, entitled “ Examen 
3 du 
