Palma, Giacopo (2), called II Giovine (i. e. " the younger"), to distinguish him from the preceding artist, his great-uncle, was born at Venice, according to Ki- dolfi, in 154-1. There is as much contradiction about this artist as about his great-uncle, and we therefore depend solely on Lanzi. He was the son of Antonio Pahna, an artist of confined genius, who instructed him in the rudiments of his art. He early exercised him- self in copying the works of Titian and other Venetian painters. Ridolfl saj'S that he studied with Titian, and others say that he was the scholar of Tintoretto; the last assertion is highly improbable. At the age of fif- teen he was taken under tlie protection of the duke of Urbino, and accompanied him to his capital. The duke afterwards sent him to Rome, where he resided eight years, and laid a good foundation for designing from the antique, by copying from the works of Michael Angelo and Kaffaelle, and particularh' by studying the chiaro- scuros of Polidoro da Caravaggio. The last was his great model, and next to him came Tintoretto, Palma being naturally induced, like them, to animate his figures with a certain freedom of action and a spirit peculiarly his own. His abilities were noted by the pope, and Gi- acopo junior was employed to decorate an apartment in the Vatican. On his return to Venice he distinguished himself by several works conducted with extraordinary care and diligence, which gained him much reputation. Lanzi says, " There are not wanting professors who have bestowed upon him a very high degree of praise for dis- playing the excellent maxims of the Roman school, united to what was best of the Venetian." He was, how- ever, but little emploj-ed, and only obtained the third rank ; and even this chiefly through the means of Vitto- ria, a distinguished sculptor and architect, who was con- sidered an excellent judge and arbiter of works of art. Palma, by Vittoria's aid, soon came into general notice, and on the death of his antagonists he was overwhelmed with commissions. Lanzi observes of Palma that he was an artist who might equally be entitled the last of
the good age and the first of the bad. When he found his reputation established, and himself almost witliout a competitor, he began to relax his diligence bv such rapidity of execution that Lanzi says many of his works may be pronounced rough drafts. " In order to prevail upon him to produce a piece worthy of his name, it be- came requisite not only to allow him the full time he pleased, but the full price he chose to ask." Upon such terms he executed the fine picture of S. Benedetto for the church of SS. Cosmo and Damiano for the noble family of JMora. Such are his Santa Apollonia at Cre- mona, his *S7. Ubaldo, and his Annunciation at Pesara; his Finding of the Cross at Urbino, and other valuable specimens scattered elsewhere. In these his tints are fresh, sweet, and clear; less splendid than those of Ve- ronese, but more pleasing than in Tintoretto. Among his best works at Venice are the Deposition from the Cross, in the church of S. Niccolo dei Fratri ; the Mar- tyrdom of St. James, in S. Giacomo del Ono; Christ taken in the Gat-den, in La Trinita ; the Visitation of the Virgin to St. Flizaheth, in S. Elizabetta; and the Plague of the Serpents, at S. Bartolomeo. The last, though a revolting subject, which strikes horror in the beholder, is one of his masterly productions, and equal to Tintoretto. Palma died in 1628. We have quite a number of etchings by this eminent artist, exe- cuted in a spirited and masterly style. Bartsch gives a list of twenty - seven. They are sometimes marked with his name in full, and sometimes with a monogram composed of a P crossed with a palm-branch. The fol- lowing are the principal : Samson and Delilah ; Judith putting the Head of Ilolofernes into a Sack, held by an attendant; the Naticitij ; the Holy Family, with St. Jerome and St. Francis ; St. John in the Wilderness ; the Decollation of St. John; the Tribute Money; the Adul- teress before Christ ; Christ ansu-ering the Pharisees u-ho ditputed his A uthority ; the Incredulity of St. Thomas ; St. Jerome in Conference icith Pope Damasivs — scarce ; an ecclesiastic and a naked figure, with two boys. See Spooner, Biog. Hist, of the Fine A rts, ii, G4G.
Palmaroli, Pietro, an Italian painter, is celebrated especially as a picture restorer. He flourished near the opening of this century, and was the first to transfer frescos from the wall to canvas. The first work so transferred was the Descent from the Cross, hx Danicle da Volterra, in the church of Trinita de' Monti, in 1811 : it is still in that church, but not in the chapel in which it was originally painted. The successful transfer of this picture caused a great sensation at Rome and in other parts of Italy, where such transfers were and still are repeatedly practiced with success. Palmaroli trans- ferred and restored many celebrated works in Rome and in Dresden. As a restorer, his sen-ices to art are almost inestimable. At Dresden is Raffaelle's celebrated Ma- donna di San Sisto, restored bj' him. In 1816 Palma- roli freed the celebrated fresco of the Sibyls, painted bj' Raffaejle for Agostino Chigi in the church of Santa Maria della Pace, from tlie destructive i-estorations in oil which were made by order of Alexander VII. He died at Rome in 1828. See Platner, Beschreibung der Stadt Pom, vol. iii, pt. 3, p. 385 ; KunstUatt, 1837 ; Nag- ler, Neiies A llgemeines Kiinstler-Lexikori, s. v. ; Spooner, Biog. Hist, of the Fine A rts. ii, 647. — English Cyclop, s. v.