Pachamama, a name of the goddess of the earth among the ancient Peruvians.
Pacheco, Francisco, a noted Spanish painter, was born at Seville in 1571, of a good and influential family. An uncle of his was canon of the cathedral of Seville, and is distinguished as a divine and poet. Afforded all the advantages of culture which his countr}' could command, Pacheco started out in life with unusual fitness for an artistic course. His very earliest works attracted general attention, and in 1598
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he was one of the principal painters emploj'ed on the great decorations or catafukiue of Philip II. In IGOO he was appointed, together with Alonzo Vazquez, to paint a series of large pictures illustrating the life of St. Ramon for the cloister of the convent of the Merced. In 1G03 he executed some works in dis- temper in the palace of Don Fernando Ilenriquez de Eibera, third duke de Alcala, from the story of Daida- lus and Icarus. In IGll he visited Toledo, Madrid, and the Escurial, and saw the great works of Titian and other celebrated Italian and Spanish masters, and was so forcibly impressed with the varied and incessant application requisite to make one a great painter that on his return to Seville he opened a sj'stematic acad- emj' of the arts, as well for his own improvement as for the benefit of the rising artists of Seville. The im- provement he himself acquired is shown by his great picture of the Last Judgment, an altar-piece finished in 1614 for the nuns of the convent of St. Isabel, and by himself described at great length in his treatise on painting. In 1G18 Pacheco was appointed by the In- quisition one of the guardians of the public morals, i. e. he was made censor of all the pictures which were exposed for sale in Seville ; nakedness was pro- hibited, and it was his business to see that no pictures of the naked human form were sold. It is to such for- mal morality as this that the Spanish school of paint- ing owes its characteristic ponderous sobriety, and is so directly unlike Italian painting. Prudery was carried so far in Spain that in the time of Ferdinand VII. even all the great Italian works which could be reproached with nudities were removed from the gal- leries, and were condemned to a distinct set of apart- ments called the Galeria Reservada, and on!}' opened to view to those who could procure especial orders. In 1623 Pacheco visited Madrid, and among many other works executed was one which hardly accords with the present notions of the occupation of a great painter, tliough it has been the practice of great artists from very early ages to paint their statues. See Ni- ciAS. Pacheco dressed, gilded, and painted (estofo) for the duchess of Olivares a statue, probabh' of wood, of the Virgin, hy Juan Gomez de Mora. What this process exactly was it is not evident from this mere mention ; but the object generallj' in these painted wooden images appears to have been to ob- tain an exact imitation in the minutest detail — per- petual fac-similes. The effect of such images, called "Pasos," must be experienced to be comprehended. The Spaniards dress them as well as paint them. Their churches were crowded with such works ; but most have now been removed to museums. Mr. Ford gives some curious details about the toilets of these Spanish images. No man is allowed in Spain to un- dress the " Paso," or " Sagrada Imagen," of the Vir- gin ; and some images had their mistresses of the robes ("camerera ma3'or"), and a chamber (" canie- rin") where their toilet was made. The duty has, however, now devolved upon old maids; and "Ha quedado para vestir imagines" (She has gone to dress images) has become a phrase of reproach. Pacheco died at Seville in 1G54. "His works, though not vig- orous, are correct in form, effective in light and shade, studied in composition, and simple in attitude ; but they have little color, are Ary, and rather feeble or timid in their handling. These defects are more ap- parent when his pictures are seen together with the works of other Aiidalusian painters, who have gener- ally made coloring their principal study, and have comparatively neglected purity of form. Besides his many religious pictures, he painted or drew in crayons nearly four hundred portraits." He also wrote Arte de Pintura, su Antigiiedad, ij (Irandeza (Seville, 1G49, 4to), a remarkably scarce book, considered an indis- pensable guide by the painters of the school of Se- ville ; it is a work of great learning on the subject, and is held throughout Spain to be the best work on
painting in the Spanish language : it is in three parts —history', theorj^ and practice. The Jesuits of Se- ville were his most intimate associates, and greatly assisted him in writing his work. They were indeed the authors of that part which is devoted to sacred art. His works are seldom seen out of Seville, and he is even very inadequate!}' represented in the sjjlendid gallery of the Prado at Madrid. The altar-piece of the Archangel Michael expelling Satan from Paradise, which was in the church of San Alberto at Seville, was regarded his masterpiece. There are still at Seville an altar-piece of the Cmiception of Sun Lorenzo, two pictures of San Fernando in San Clementi, and a picture in San Alberto. See Antonio, FAbliotheca Scriptor. IJispcmice, iii, 456 ; Ticknor, IJist. Sj)anish Lit. iii, 19 ; Spooner, Biog. Diet, of the Fine Arts, s. v. ; English Cyclop, s. v.