DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0480
458
PIRANESI — PISANO.
nent designer and engraver of ruins, architectural subjects, etc. He
has been called the “ Rembrandt of Architecture,” on account of his
admirable management of light and shade, which gave force and
vigor to his works. His pictures of ancient ruins are not always
exact, as his imagination was indulged to some extent, even in rep-
resenting what was before him. He was of a fiery temper, and dis-
agreed seriously with Lord Charlemont, so that he cut out the arms
of that nobleman where he had engraved them in his plates, and sub-
stituted other designs in their places. He was a member of the
London Society of Antiquaries. His son took his father’s plates to
Paris, where he went as minister for the Roman Republic. After
the son’s death in 1810, they were purchased by Didot, but now be-
long to the government of Rome, and are in the Vatican. They
number nearly 2000. His son Francesco and his daughter Laura
also engraved the same class of subjects as did the father.
Pisanello. Real name Vittore Pisano. Born at Verona. There
is much uncertainty concerning the birth, education, etc., of this
painter. It is said that he painted with Gentile da Fabriano in
the Lateran, and that he died in 1451. Many of his works are pre-
served in Verona, his native city, and show him to have been a
graceful and attractive painter.
Pisano, Niccola, born at Pisa (about 1206-1278). According to
the custom of his time he was both architect and sculptor. At the
early age of fifteen he was appointed architect to Frederic II, with
whom he went to Naples. In the service of this sovereign he passed
ten years, and then went to Padua, where he made the design for the
Basilica di S. Antonio. The first known attempt which he made as
a sculptor resulted in his alto-rilievo of the “ Deposition from the
Cross,” which now fills a lunette over a door of the Cath of S. Mar-
tino at Lucca. This is most excellent as the work of an untutored
artist, as he was at that time, and it shines by comparison with works
of his contemporaries which are near it. The statuettes of the Mis-
ericordia Vecchia at Florence are of about the same merit as this
bas-relief. In 1248 Niccola went to Florence to assist the Ghibel-
lines in their work of destruction; he was commissioned to overturn
the tower called Guardamorto, in such a way as to destroy the Bap-
tistery; he overturned the tower, but it did not fall in the anticipated
direction, and we may believe that this was in accordance with his
intention, although it was attributed to a special miracle, by Villani.
During the twelve succeeding years he was employed in making de-
signs for the building and remodelling of many churches and palaces.
The ch. of Santa Trinita at Florence is one of the best known of his
works of this period. In 1260 Niccola established his fame as a
sculptor by the magnificent pulpit which he executed for the Baptis-
tery at Pisa. Of course marks of his comparative inexperience can
be found in this work, but taken all in all it almost challenges criti-
PIRANESI — PISANO.
nent designer and engraver of ruins, architectural subjects, etc. He
has been called the “ Rembrandt of Architecture,” on account of his
admirable management of light and shade, which gave force and
vigor to his works. His pictures of ancient ruins are not always
exact, as his imagination was indulged to some extent, even in rep-
resenting what was before him. He was of a fiery temper, and dis-
agreed seriously with Lord Charlemont, so that he cut out the arms
of that nobleman where he had engraved them in his plates, and sub-
stituted other designs in their places. He was a member of the
London Society of Antiquaries. His son took his father’s plates to
Paris, where he went as minister for the Roman Republic. After
the son’s death in 1810, they were purchased by Didot, but now be-
long to the government of Rome, and are in the Vatican. They
number nearly 2000. His son Francesco and his daughter Laura
also engraved the same class of subjects as did the father.
Pisanello. Real name Vittore Pisano. Born at Verona. There
is much uncertainty concerning the birth, education, etc., of this
painter. It is said that he painted with Gentile da Fabriano in
the Lateran, and that he died in 1451. Many of his works are pre-
served in Verona, his native city, and show him to have been a
graceful and attractive painter.
Pisano, Niccola, born at Pisa (about 1206-1278). According to
the custom of his time he was both architect and sculptor. At the
early age of fifteen he was appointed architect to Frederic II, with
whom he went to Naples. In the service of this sovereign he passed
ten years, and then went to Padua, where he made the design for the
Basilica di S. Antonio. The first known attempt which he made as
a sculptor resulted in his alto-rilievo of the “ Deposition from the
Cross,” which now fills a lunette over a door of the Cath of S. Mar-
tino at Lucca. This is most excellent as the work of an untutored
artist, as he was at that time, and it shines by comparison with works
of his contemporaries which are near it. The statuettes of the Mis-
ericordia Vecchia at Florence are of about the same merit as this
bas-relief. In 1248 Niccola went to Florence to assist the Ghibel-
lines in their work of destruction; he was commissioned to overturn
the tower called Guardamorto, in such a way as to destroy the Bap-
tistery; he overturned the tower, but it did not fall in the anticipated
direction, and we may believe that this was in accordance with his
intention, although it was attributed to a special miracle, by Villani.
During the twelve succeeding years he was employed in making de-
signs for the building and remodelling of many churches and palaces.
The ch. of Santa Trinita at Florence is one of the best known of his
works of this period. In 1260 Niccola established his fame as a
sculptor by the magnificent pulpit which he executed for the Baptis-
tery at Pisa. Of course marks of his comparative inexperience can
be found in this work, but taken all in all it almost challenges criti-