and kneeling figures of the Magi. Certain figures in others of the panels are no less deeply imbued with classical feeling.
The next important work of Niccola in date is the Arca di San Domenico, in the church at Bologna consecrated to that saint, who died in 1221. Only the main part, the actual sarcophagus covered with sculptured reliefs of St Dominic's life, is the work of Niccola and his pupils. The sculptured base and curved roof with its fanciful ornaments are later additions. This "Arca."
The Adoration of the Magi, one of the panels in the pulpit of the
Pisan Baptistery by Niccola Pisano.
was made when St Dominic was canonized, and his bones translated, it was finished in 1267, not by Niccola himself, but by his pupils The most magnificent, though not the most beautiful, of Niccola's works is the great pulpit in Siena cathedral (1268). It is much larger than that at Pisa, though somewhat similar in general design, being an octagon on cusped arches and columns Its stairs, and a large landing at the top, with carved balusters and panels, rich with semi-classical foliage, are an addition of about 1500. The pulpit itself is much overloaded with sculpture, and each relief is far too crowded with figures. An attempt to gain magnificence of effect has destroyed the dignified simplicity for which the earlier pulpit is so remarkable.
Niccola's last great work of sculpture was the fountain in the piazza opposite the west end of the cathedral at Perugia. This is a series of basins rising one above another, each with sculptured bas-reliefs, it was begun in 1274, and completed, except the topmost basin, which is of bronze, by Niccola's son and pupil Giovanni.
Niccola Pisano was not only pre-eminent as a sculptor, but was also the greatest Italian architect of his century; he designed a number of very important buildings, though not all which are attributed to him by Vasari. Among those now existing the ch1ef are the main part of the cathedral at Pistoia, the church and convent of Sta Margherita at Cortona, and Sta Trinita at Florence. The church of Sant' Antonio at Padua has also been attributed to him, but without reason. Unfortunately his architectural works have in most cases been much altered and modernized. Niccola was also a skilled engineer, and was compelled by the Florentines to destroy the great tower, called the Guardamorto, which overshadowed the baptistery at Florence, and had for long been the scene of violent conflicts between the Guelphs and Ghibellines. He managed skilfully so that it should fall without injuring the baptistery. Niccola Pisano died at Pisa in the year 1278, leaving his son Giovanni a worthy successor to his great talents both as an architect and sculptor.
Though his importance as a reviver of the old traditions of beauty in art has been to some extent exaggerated by Vasari, yet it is probable that Niccola, more than any other one man, was the means of starting that "new birth" of the plastic arts which, in the years following his death, was so fertile in countless works of the most unrivalled beauty. Both Niccola and his son had many pupils of great artistic power, and these carried the influence of the Pisani throughout Tuscany and northern Italy, so that the whole art of the succeeding generations may be said to have owed the greater part of its rapid development to this one family
See Sculpture, and general histories of Italian art; Symonds, Renaissance in Italy; A. Brach, Nicola und Giovanni Pisano und die Plastik des XIV. Jahrhunderts in Siena (Strassburg, 1904).
PISANO, VITTORE (c. 1380–1456), commonly called Pisanello, Italian medallist, was a native of San Vigilio sul Lago in the territory of Verona. Specimens of his work as a painter are still extant in Rome, Venice, Verona and Pistoia, and entitle him to a place of some distinction in the history of that art. The National Gallery in London possesses a very fine specimen of Pisanello's work—a panel painted with miniature-like delicacy. During the latter portion of his life he lived in Rome, where he enjoyed great repute.
PISAURUM (mod. Pesaro, q.v.), an ancient town of Umbria on the Via Flaminia, 26 m. from Ariminum and 8 from Fanum Fortunae. A Roman colony was founded here in the territory of the Galli Senones in 184 B.C., at the mouth of the river Pisaurus (mod. Foglia; the sea has since then receded about half a mile). Whether it took the place of an earlier town or not, is not known: an important Gaulish cemetery has been discovered near the village of Novilara between Pisaurum and Fanum, but to which of these centres (if either) it belonged is uncertain (E. Brizio in Monumenti dei Lincei [1895], V. 85 sqq.). In 174 B.C. we hear that the censors built a temple of Jupiter here and paved a road. T. Accius, the counsel who opposed Cicero in the case when he defended Cluentius in a still extant speech, was a native of Pisaurum. Catullus refers to the town as decadent or unhealthy, but this may be merely malicious, and does not seem to be borne out by facts: for it is not infrequently mentioned by classical authors. It was occupied by Caesar in 49 B.C., and was made a colony under the second triumvirate. Hence it bears the name Colonia Julia Felix. We hear little of it under the empire. It was destroyed by the Goths in 539, and restored by Belisarius in 545. From the inscriptions, nearly 200 in number, an idea of the importance of the town may be gained. Among them are a group of cippi found on the site of a sacred grove of the matrons of Pisaurum, bearing dedications to various deities, and belonging probably to the date of the foundation of the colony. There are some remains of the town walls, and an ancient bridge over the Foglia. It was, like Ariminum, a considerable place for the manufacture of bricks and pottery, though the factories cannot always be precisely localized.
PISCES (the fishes), in astronomy, the twelfth sign of the zodiac (q.v.), represented by two fishes tied together by their tails and denoted by the symbol ♓︎. It is also a constellation, mentioned by Eudoxus (4th century B.C.) and Aratus (3rd century B.C.); and catalogued by Ptolemy (38 stars), Tycho Brahe (36) and Hevelius (39). In Greek legend Aphrodite and Eros, while on the banks of the Euphrates, were surprised by Typhon, and sought safety by jumping into the water, where they were changed into two fishes. This fable, however, as in many other similar cases, is probably nothing more than an adaptation of an older Egyptian tale. α Piscium, is a fine double star of magnitude 3 and 4; 35 Piscium, is another double star, the components being a white star of the 6th magnitude and a purplish star of the 8th magnitude.
Piscis australis, the southern fish, is a constellation of the southern hemisphere, mentioned by Eudoxus and Aratus, and catalogued by Ptolemy, who described 18 stars. The most important star is a Piscis australis or Fomalhaut, a star of the first magnitude.
Piscis volans, the flying fish, is a new constellation introduced by John Bayer in 1603.
PISCICULTURE (from Lat. piscis, fish). The species of fish which can be kept successfully in captivity throughout their lives from egg to adult is exceedingly limited in number. The various breeds of goldfish are familiar examples but the carp is almost the only food-fish capable of similar domestication. Various other food-fishes, both marine and fresh-water, can be kept in ponds for longer or shorter periods, but refuse to breed, while in other cases the fry obtained from captive breeders will not develop. Consequently there are two main types of pisciculture to be distinguished: (1) the rearing in confinement of young fishes to an edible stage, and (2) the stocking of natural waters with eggs or fry from captured breeders.
