"It is probable that the artists in Egypt who painted on wood were in higher estimation than mere decora- tors, as was the case in Greece, where 'no artists were in repute but those who executed pictures on wood, for nei- ther Ludius nor any other wall painter was of any re- nown.' The Greeks preferred movable pictures, which could be taken away in case of fire, or sold if necessary ; and, as Pliny says, 'there was no painting on the walls of Apelles's house' (or 'no painting by Apelles on the walls (if a house'). The painting and decoration of build- ings was another and an inferior branch of art. The pict- ures were put up in temples, as the works of great mas- ters in later times in churches; but they were not dedi- cations, nor solely connected with sacred subjects ; and the temple was selected as the place of security, as it often was as a repository of treasure. They had also picture- galleries iu some secure place, as iu the Acropolis of Athens.
"Outline figures on walls were in all countries the ear- liest style of painting; they were in the oldest temples of Latium; and iu Eirypt they preceded the more elabo- rate style, that was afterwards followed by bas-relief and intaglio. In Greece, during the middle period, which was that of the best art, pictures were painted on wood by the first artists: and Raoiil-Rochette thinks that if any of them painted on walls, this was accidental ; and the finest pictures, being on wood, were in after-times carried off to Rome. This removal was lamented by the Greeks 'as a spoliation,' which having left the walls bare,
were at first of one color, doubtless red like those of the Eirypiians, Romans, and Etruscans. For not only bas- reliefs were painted, which, as parts of a colored building, was a necessity, but statues also; and as art advanced they were made to resemble real life. For that statue by Scopas, of a Bacchante, with a disembowelled fawn, whose cadaverous hue contrasted with the rest, at once shows that it was painted, and not of a moiiochroiiie color ; and the statues of Praxiteles, painted for him by Nicias, would uot have been preferred by that sculptor to his other works if they had merely been stained red. The blue eyes of Minerva's statue; the inside of her shield painted by Pannfeus, and the outside by Phidias (originally a painter himself), could only have beeu parts of the whole colored figure; Pannfeus assisted in painting the statue of Olympian Jupiter; and ivory statues were said to have been prevented turning yellow by the application of color. "If the artists of Greece did not paint on walls, it was not from any mistaken pride, since even the greatest of them would paint statues uot of their owu work; and those in modern days who study decorative art will do well to remember that to employ superior taste in orna- mental composition is no degradation, and that the finest specimens of decorative work iu the Middle Ages were executed by the most celebrated artists."
— Anc. Egyptians, ii, 277 sq. For a detailed account of Greek and Komau painting, as an art, see Smith's Diet, of Class. A ntiq. s. v. See Color ; Picturk,
Paisiello, Giovanni, an eminent Italian composer, who wrote both secular and Church music, was born at Taranto in 1741. He received his musical education in the Conservatorio St. Onofrio at Naples, under the guidance of the celebrated musician Durante. Of Pai- siello's earlier works none are of special interest to us, as they were principally of a secular character. Some of his best works, among which is II Barhiere de Se- vi(jlia, were written during an eight years' residence at St. Petersburg. At Vienna he composed twelve sym- phonies for a large orchestra, and the opera buffa // Re Teodoro. Between 1785 and 1799 he produced a number of operas for the Neapolitan theatre, and was appointed by Ferdinand IV his Maestro di Capella. In conse- quence of having accepted under the revolutionarj' gov- ernment the office of national director of music, he was suspended from his functions for two years after the restoration of royalty, but eventuallj' restored to them. In 1802 he went to Paris to direct the music of the consular chapel, and while in that position wrote a Te Ikinn for Napoleon's coronation. The indifferent re- ception shortly after given to his opera of Proserpine led him to return to Naples, where he died in 181G. His compositions are characterized by sweetness and gracefulness of melody and simplicity of structure. Be- sides no fewer than ninety operas, instrumental quar- tets, harpsichord sonatas, and concertos, he composed masses, requiems, cantatos, an oratorio, and a highly praised funeral march in honor of General Hoche. See Dhoron ct Fayolle, iJict. IJistorique des Musiciens, s. v. ; Quatremere de Quincj-, Notices sitr Paisiello; Fetis, Biof/. Universelle des Musiciens, s. v. — Hoefer, Nouv, Biog. Generale, s. v.
Pajon, Claude, a noted French Protestant divine, celebrated as an apologist of the new doctrines, but also distinguished as somewhat alien to orthodox teachings.
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