lished in 1778, in two vols. 4to. In 1784, M. Pingrè published his "Cometography, or historical and theoretical treatise on Comets," in two vols. 4to, which is his most considerable work, and contains calculations of the orbits of all the comets of which an account has been preserved. After a long life, spent in the most important services to the world, he died in the month of May 1796, leaving behind him a high character for integrity, having enjoyed the esteem of the public, as well as that of his friends. He was author of many other works besides those that have been already noticed. '

PINSON. See PYNSON.

PINSSON (FRANCIS), a learned jurist, son of a professor of law of the same name, was born at Bourges in 1612. He was admitted an advocate in the parliament of Paris in 1633, and rose to various honours in his profession; and was, at his death, sub-dean of the company of advocates. He owed his success in life to his great knowledge of the law of benefices, in which he was regarded as the oracle, and which he illustrated by several learned works. Of these were, "Traité des Bénéfices;" "La Pragmatique Sanction de St. Louis, et celle de Charles VII. avec Commentaires ;"" Notes sommaires sur les Indults, accordés à Louis XIV. &c. ;" "Traités des Regales," 2 vols. 4to, which is said to be a very learned and useful performance. This industrious writer died at Paris, Oct. 10, 1691.2

PINTURICCIO (BERNARDINO), a celebrated artist, was born at Perugia in 1454, and was a disciple of Pietro Perugino, who often employed him as his assistant. He painted history; but in portraits was in so much esteem, that he was employed to paint those of pope Pius II. and of Innocent VIII; of Giulia Farnese, Cæsar Borgia, and queen Isabella of Spain. His style, nevertheless, was extremely dry and Gothic, as he introduced gilding in the ́architectural and other parts of his pictures, blended with ornaments in relievo, and other artifices quite unsuitable to the genius of the art. The most memorable performance of Pinturicchio is the History of Pius II. painted in ten compartments, in the library at Sienna, in which he is said to have been assisted by Raphael, then a very young man, and pupil of Perugino, who made some cartoons of

1 La Lande's History of Astronomy.-Rees's Cyclopædia.—Dict. Hist. Gen. Dict.-Niceron, vol. XXII.

the most material incidents, and sketched many parts of the compositions.

His last work was a Nativity, for the monastery of St. Francis, at Sienna; in which place he had a room assigned him to paint in, without the danger of his being interrupted, and out of which he requested every thing might be removed. Every thing, accordingly, was taken away, except an old chest, which was so crazy, that when the attempt was made, it broke to pieces, and a treasure of 500 pieces of gold was discovered concealed within it. The joy of the monks was equalled only by the mortification of the painter, who is said to have died of chagrin soon after, in 1513, at the age of 59.1

PIOMBO (SEBASTIAN DEL), was called also Venetiano, from Venice, the place of his birth, which occurred in 1485. He was renowned, in early life, as a musician, and particularly for his skill in playing upon the lute. While he was yet in his youth, he abandoned that science, and was taught the rudiments, of the art of painting by Giovanni Bellini; but Giorgione da Castel Franco having just then exhibited his improved mode of colouring and effect, Sebastian became his disciple and most successful imitator. His portraits, in particular, were greatly admired for the .strength of resemblance, and the sweetness and fulness of style, which made them be frequently mistaken for the work of Giorgione. His portrait of Julio Gonzaga, the favourite of cardinal Hippolito di Medici, is by many writers mentioned in the highest terms. Being induced to go to Rome, he soon attracted public notice; and in the contest respecting the comparative merits of Raphael and M. Angelo, Sebastian gave the preference to the latter, who in consequence favoured him on all occasions, and even sti mulated him to the rash attempt of rivalling Raphael, by painting a picture in competition with that great man's last great work, the Transfiguration; which had just been placed, with great form, in the church of St. Pietro à Montorio, The subject Sebastian chose was the resurrection of Lazarus; for which Michael Angelo is supposed to have furnished the design, or at least to have considered and retouched it. The picture is of the same size as Raphael's; and, when completed, was placed in the same consistory, and was very highly applauded. The cardinal

di Medici sent it to his bishopric of Narbonne, and it became the property of the Duke of Orleans. It is now in England, and in possession of J. Angerstein esq. who gave 2000 guineas for it to the proprietors of the Orleans collection. Although it is a work of profound skill, and highly preserves the reputation of its author, yet, in our opinion, it is not to be compared with the great work it was intended to rival, either in design, in expression, or effect, whatever may be said of its execution.

Sebastian continued to exercise his talents, particularly in portraiture, with great industry and success, till he obtained the office of Frate del Piombo, when he ceased to paint for profit, and was henceforward known by the name of Sebastian del Piombo. He lived in great esteem with pope Clement VII. whose portrait he painted with great power and fidelity, as well as that of the infamous satirist Aretine, and those of many persons of rank and renown. He obtained great praise for having discovered a mode of preventing oil-colours, employed on plaster, from becoming dark; which he did, by applying, in the first instance, a mixture of mastic and Grecian pitch. Having passed through a life of great honour and emolument to the age of 62, he died in 1547.1

PIPER (FRANCIS LE), an English comic painter, was the. son of a Kentish gentleman descended from a Walloon family. His father, having a plentiful estate, gave this his eldest son a liberal education, and would have had him bred a scholar, or else a merchant; but his genius leading him wholly to designing, he could not fix to any particular science or business but the art to which he naturally inclined. Drawing took up all his time and all his thoughts; and being of a gay facetious humour, his manner partook of it. He delighted in drawing ugly faces; and had a talent so particular for it, that he would by a transient view of any remarkable face he met in the street, retain the likeness so exactly in his memory, that it might be supposed the person had sat several times for it. It was said of him, that he would steal a face; and a man, who was not handsome enough to desire to see his picture, sat in danger in his company. He had a fancy peculiar to himself in his travels: he would often go away, and let his friends know nothing of his departure; make the tour of France and the Netherlands, a-foot; and sometimes his

Pilkington, by Fuseli.-Rees's Cyclopædia.-D'Argenville, vol, I.

frolic carried him as far as Grand Cairo. He never advertised his friends of his return, any more than he did of his intended absence, delighting to baffle their conjectures, or tantalize their feelings. In this manner he travelled, at several times, through Italy, France, Germany, the Netherlands, and Holland; in which several countries he examined the works of the several painters with pleasure and judgment, and formed to himself a manner of design which no man in that kind ever excelled, or perhaps equalled.

Having a good estate of his own, and being generous, as most men of genius are, he would never take any thing for his pieces. He drew them commonly over a bottle, which he loved so well, that he spent great part of his hours of pleasure in a tavern. This was the occasion that some of his best pieces, especially such as are as large as the life, are to be found in those houses; particularly at the Mitre Tavern, in Stocks-market, where there was a room called the Amsterdam, adorned with his pictures in black and white. The room took its name from his pieces; which, representing a Jesuit, a Quaker preaching, and other preachers of most sects, was called the Amsterdam; as containing an image of almost as many religions as are professed in that free city. He drew also other pieces of humour for a Mr. Shepheard, a vintner, at the Bell, in Westminster, which Mr. Holmes, of the Mitre, purchased, to make his collection of this master's pieces the more complete; and the benefit of shewing them was not a little advantageous to his house. Piper drew also a piece, representing a constable with his myrmidons, in very natural and ludicrous postures. He seldom designed after the life, and neglected colouring: yet he sometimes, though very rarely, coloured some of his pieces, and is said not to have been very unsuccessful in it. He was a great admirer and imitator of Augustine Caracci, Rembrandt, and Heemskirk's manner of design, and was always in raptures when he spoke of Titian's colouring: for, notwithstanding he never had application enough to make himself a master of that part of his art, he admired it in those that were so, especially the Italians. He drew the pictures of several of his friends in black and white; and maintained a character of truth, which shewed, that if he had bestowed time to perfect himself in colouring, he would have rivalled the best of our portrait-painters. Towards the latter end of his life, having impaired his fortune,

1

he sometimes took money. He drew some designs for Mr. Isaac Becket, who copied them in mezzotinto. Those draughts were generally done at a tavern; and, whenever he pleased, he could draw enough in half an hour to furnish a week's work for Becket *.

His invention was fruitful, and his drawing bold and free. He understood landscape-painting, and performed it to perfection. He was particularly a great master in perspective. In designing his landscapes, he had a manner peculiar to himself. He always carried a long book about with him, like a music-book, which, when he had a mind to draw, he opened; and, looking through it, made the lower corner of the middle of the book his point of sight by which, when he had formed his view, he directed his perspective, and finished his picture. His hand was ready, his strokes bold; and, in his etching, short. He etched several things himself, generally on oval silver plates for his friends; who, being most of them as hearty lovers of the bottle as himself, put glasses over them, and made lids of them for their tobacco-boxes. He drew several of the grand seignors' heads for sir Paul Rycaut's "History of the Turks," which were engraved by Mr. Elder. In the latter part of his life, he applied himself to modelling in wax in basso-relievo; in which manner he did abundance of things with good success. He often said, he wished he had thought of it sooner, for that sort of work suited better with his genius than any; and had he lived longer, he would have arrived to great perfection in it. Some time before his death another estate fell to him, by the decease of his mother; when, giving himself new liberty on this enlargement of his fortune, he fell into a fever by his free way of living; and, employing a surgeon to let him blood, the man unluckily pricked an artery, which accident proved mortal. Piper was very fat, which might contribute to this misfortune. He died in Alder manbury, about 1740.

However corpulent and heavy Piper's body was, his

* Being one day at a tavern with Faithorne, Hart, the engraver, and others, he scratched a bead with a coal on a trencher, and gave it to Faithorne, who touched upon it. In the mean time, Piper drew another on another trencher, and exchanged it with Faithorne for that which he had touched.

They did thus ten times; and, between them, wrought up the heads to such a height of force, that nothing could be better done in that kind These trenchers are still extant; but we cannot learn in whose hands they are at present;