Venetian painting at that time. Palma increasingly rivaled
Tintoretto and became the dominant figure in Venice after
the latter’s death.
Palma Vecchio (Jacomo Negretti) (1480–1528) Italian
painter
He was born at Serimalta, near Bergamo, and was almost
certainly trained in the studio of Giovanni BELLINI, possi-
bly with TITIANand GIORGIONE, although the first mention
of Palma in Venice is not until 1510. It was at about this
time that he began to paint the pictures of ample female
figures that made him so popular and which he continued
to produce throughout his career. These ladies appeared
sometimes as mythological and sometimes biblical per-
sonages in rich, sensuous pictures of simple composition,
such as the Flora (c. 1520) in London’s National Gallery.
Many of the works are sacre conversazioni with several fe-
male saints, such as his masterpiece Sta. Barbara and
Other Saints in Sta. Maria Formosa, Venice. Among the
artists that he influenced are Alessandra MORETTOand
Girolamo ROMANINO.
Palmieri, Matteo (1406–1475) Italian writer and poet
Born into a Florentine mercantile family, Palmieri studied
under some of the leading humanists of his day and held
a number of governmental posts in the republic. He wrote
several historical works in Latin, including a history of
Florence (Historia florentina, published in the 18th cen-
tury), and in the vernacular a lengthy religious poem, La
città di vita, heavily indebted to Dante. His major work,
written about 1430, is the dialogue Della vita civile (1529).
Drawing on arguments in CICEROand QUINTILIAN, the
treatise is a discussion and a defense of the active life of
civic responsibility based on humanist principles, as
against a life of contemplative scholarship.
Paludanus, Guilielmus (Willem van den Broeck)
(1530–1580) Netherlands sculptor
Posibly born at Malines, he matriculated in St. Luke’s
guild of artists in Antwerp (1557) and was granted citi-
zenship two years later. He carved architectural details for
the Antwerp town hall, built by Cornelis FLORIS, as well as
two reliefs of Christ’s Passion for Augsburg (1560–62).
Paludanus is not recorded as having traveled to Italy, but
his style shows a knowledge of the Italian High Renais-
sance, possibly gained from studying engravings and the
work of Leone LEONI, who visited the imperial court in
Brussels (1556–59). A male anatomical statuette of St.
Bartholomew, excellently modeled in terracotta (dated
1569; Kunsthistorisches Museum, Vienna) attests his skill
and possible contact with GIAMBOLOGNA. In 1571 he made
narrative reliefs for the base of Jacques JONGHELINCK’s
monument in Antwerp to the duke of Alba (destroyed)
and began a choir screen for export to San Leonardo, Alba
(Spain), also now lost. An altar in Antwerp cathedral was
destroyed (1582) during the wars of religion.Pannemaker family The most famous of the 16th-
century Flemish tapestry weavers, based in Brussels.
Pieter I Pannemaker (active from 1510) was a follower of
Pieter van Aelst, who in 1514 was commissioned by Pope
Leo X to weave the tapestries from Raphael’s cartoons of
New Testament subjects. In 1518 Pieter was the first of his
family to gain imperial patronage, with a commission
from Maximilian I, and he subsequently (1523) also
worked for MARGARET OF AUSTRIA. Pieter II and Willem
continued to work for the Hapsburgs. Among their
prolific output was the series of 12 tapestries depicting
Charles V’s campaign to capture Tunis (1535), after
designs by Jan Cornelis VERMEYEN. At the end of the 1570s
the preeminence of the Pannemakers was overtaken by
the Geubels family.Pantagruel See GARGANTUA AND PANTAGRUELPanvinio, Onofrio (1529–1568) Italian humanist scholar
Panvinio studied in his native Verona, in Padua, and in
Naples. His first published work was an edition of the
Fasti Consulares (1556). He also published studies of the
pedigrees of contemporary Roman families, ancient
games, the Roman triumph, sacrifices, and the Sibylline
books. Most of this antiquarian work was based on the
collection of nearly 3000 inscriptions which he hoped
would eventually form the basis for a complete edition of
Roman inscriptions. In 1568 he visited Sicily and died at
Palermo; he was buried at Rome. Panvinio’s work typifies
the sort of antiquarian studies characteristic of the later
Renaissance. His manuscript collections are now in the
Vatican. TITIANpainted a fine portrait of him.Paracelsus, Philippus Aureolus (Theophrastus Bom-
bastus von Hohenheim) (1493–1541) German physician,
chemist, and alchemist
The son of a physician, Paracelsus was born near Zürich
and began his career working the Fugger silver mines at
Hutenberg. He soon abandoned mining for medicine and
in 1526 began to practice in Basle. He immediately gained
a notable success by curing the famous printer FROBENof
a leg infection while his orthodox rivals were advising am-
putation. Although appointed city physician Paracelsus
proved to be too quarrelsome ever to occupy an official
post more than briefly: nor was his tenure helped by the
sudden death of Froben in 1527. Thereafter Paracelsus led
the life of an itinerant teacher and physician, traveling
through, but never long welcome in, the provinces of Aus-
tria, Bohemia, Switzerland, and Bavaria. As a physician he
proclaimed the total inadequacy of the classical tradition,
burning the works of Avicenna in 1527, and declaring in
his own adopted name that he had advanced well beyondPPaarraacceellccuuss,, PPhhiilliippppuuss AAuurreeoolluuss 3 35599