116 PACCHIAROTTO— PAGGI. painters, who, having the misfortime to be omitted by Yasari, have been almost forgotten by posterity : he may be the Girolamo di Pacchia mentioned by Yasari in the life of II Sodoma. Sienese School. The works of this painter much resemble those of Pietro Perugino, for though in time belong- ing to the sixteenth century, he is one of the Quattrocentisti in style ; but the influence of Raphael is also apparent in his works; his forms are fuller than Perugino's; his heads have great beauty of feature and sweetness of ex- pression, and his colouring has won- derful force. Speth compares his works rather with those of Raphael, and adds that designating Pacchia- rotto as of the School of Perugino, is only magnifying the injustice he had already undergone, in having his works attributed to that master. Works. Siena, the Academy, various specimens : Santa Caterina, St. Cathe- rine on her visit to the body of Agnes, of Montepulciano : San Bernardino, the Birth; and the Annunciation of the Yirgin, frescoes. Munich, Pina- cothek, two beautiful easel pictures, from San Bernardino, in Siena; San Francesco d'Assisi with two Angels in the background; the Madonna and Child, with four Angels; half-length figures in both. National Gallery, Ma- donna and Child. {Lanzi, Speth.) PAGANI, Gregobio, b. at Florence, Dec. 3, 1558 ; d. 1605. Tuscan School. The son of Francesco Pagani, and the scholar first of Santi di Tito. He then studied with Cigoli. Pagani was one of the most distinguished followers of Cigoli, and aided him materially in reforming the style of colouring of the Florentine School: in drawing and chiaroscuro their models were Michel- angelo and Correggio. His works are not numerous: his master-piece, St. Helena finding the Cross, formerly in the Carmine at Florence, was burnt in the fire of that church in 1771 : it is, however, preserved in the print of G. B. Cecchi. There are a Nativity, in tempera, by Pagani, in Santa Maria del Fiore ; and a fresco of San Domenico, in the cloisters of Santa Maria Novella, at Florence. He was also a modeller or sculptor: he modelled three bas- reliefs of the bronze gates of the cathe- dral of Pisa. {Baldinucci.) PAGGI, Gio. Batista, b. at Genoa, 15.^4; d. March 10, 1627. Genoese School. He was the scholar of Luca Cambiaso, and, though exclusively dis- tinguished as a painter, was also sculp- tor and architect. In 1580 he fled, in consequence of a homicide, to Florence, where he lived many years. He re- turned to Genoa about 1600 ; having continued his studies with great ad- vantage at Florence, where he was much employed, and acquired a great reputation. Here he adopted a more than usually careful and vigorous style of drawing, and contributed greatly to ameliorate the incorrect design of his countrymen, and to revive the declining state of the Genoese School also in its colouring, in which he especially excelled. He enjoyed the reputation of the principal Genoese painter of his time; and he wrote a treatise on his art partly in antagonism to the princi- ples of Lomazzo ; it was published in 1607 under the title Dejinizione, o sia Divuione delta Pitturaj now scarce. He also etched a few plates. Works. Florence, church degli Angeli, a Holy Family : Santa Maria Novella, cloister, St Catherine of Siena : San Marco, the Transfigura- tion. Pavia, the Certosa, three subjects from the Passion of Christ Pisa, San Francesco, the Resurrection of Christ Genoa, Palazzo Doria, the Murder of the Innocents: San Bartolomeo, the Annunciation; and Christ giving to Ananias, the Messenger of Abgarus, the Sancta Veronica, or holy true
