Sess. 6. The decree of the Council of Con- lance wa- re- newed against those who troubled and maltreated per- sons coming to the council.
SeSS. 6. A deputy from the University of Paris deliver- ed a discourse, after which the pope .Julius was again cited in the usual form: and upon hi- non-appearance a demand was made that he should be declared contuina- ciotts. Several decrees were also puldi-hed, among other subjects upon the exemplary life which e
also upon the order to be observed In councils, with regard to sessions and congregations. The convo- cation of a council to Rome, made by Julius, wa- null and void.
Sess. 7. The promoters of the council required that Ju- lius should be declared, through his contumacy, to have inclined, ipso facto, suspension from all administration of i in' pontifical office. Consequently be was called upon three times from the fool of the altar, and at the church door: the settlement of the question was then deferred till the next session.
Sess. s. After mass, sun;; by the bishop of Maguelonne (now Monlpelliet . a decn e was made suspending .Julius, and the council, alter reciting all that had been done in order to obtain his protection, exhorted all cardinals, bishops, princes, and people no longer to recognise Ju- lius a- pope, he having been declan a i ontumacious, the author of SChism, Incorrigible and hardened, ami having a- such incurred the penalties denounced in the decrees of Constance and Basle.
Bess. '.'. This was the la-t se—ion of the council, for the French being obliged to abandon the Milaucse, the bisk-
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ops were compelled to quit Milan ; they made an attempt to continue the council at Lyons, but without effect. See Landon, Cone, xiii, 1486 ; Dnpin, Comp, Hist, iv, 4 ; Hefele, Conciliengcsch.
Pisa, Bartholomeo de', an Italian theologian, was born at Pisa near the beginning of the 14th cen- tury. He belonged to the Dominican Order, and has often been confounded with a Franciscan monk of the same name, who rendered himself famous by his book on the resemblance of Jesus to St. Francis. He died about 1347. He wrote several works of piety and the- ology; but two only have been printed: Summa de cattibus conscientice (Cologne, 1474, fol.), and De docu- ments antiquorum opus morale (Treviso, 1601, 8vo). See F^chard, De Script. Ord. Prcedicat.—Hoefer, Nouv. Biog. Generate, xl, 330.
Pisa, Samuel Cohen de', a native of Lisbon, was one of the most profound Talmudists of the 17th cen- tury. He wrote n3"S PDSX, the li Revealer of Secrets" (Venice, 1661), a commentary on the most difficult pas- sages of Ecclesiastes and Job, in fourteen chapters, which, besides the exposition of the passages, considers very important questions. Thus, for instance, in the first chapter he treats on the question "whether, in the third chapter of Ecclesiastes, the immortality of the soul is denied ;" and in the ninth chapter, " whether Job did deny the immortality of the soul and the. resurrection of the dead." See Fiirst, Bibl. Jud. iii, 105; De Rossi, Dizzionario storico degli mi fori Ebrei, p. 265 (German transl. by Hamburger) ; Wolf, Bibl. Hebr. i, 1206 ; iii, 1111; Lindo, History of the Jews in Spain and Portugal, p. 369. (B. P.)
Pisano, Andrea, an early artist of Pisa, was a sculptor and architect, and the friend of Giotto, a few years his senior. Andrea was born about 1280. Of his several works still extant, the bronze gates of the Baptistery of St. John at Florence are the most important. These two gates are still perfect; the exact date of their execution is disputed — whether they were finished in 1330, or only commenced in that year. The reliefs are from the life of John the Baptist, and the general design of the gate is said to have been made by Giotto ; but Giotto's share, if any, must have been more that of the architect than the sculptor, though even defining the panels and indi- cating the subjects; he can scarcely have had more to do with the design than this, or his name would have been more intimately associated with them. The work appears to have been modelled by Andrea and his son Nino, and the castings commenced by some Venetian artists in 1330, and the complete gates to have been finished and gilded in 1339, with the exception of some decorations of the architrave, which were added many years afterwards by Vittorio, the son of Lorenzo Ghiberti, in order to make them harmonize with the other two sets of gates executed by his father. The gates of Andrea were originally in the centre of the Baptistery, opposite to the cathedral, but were afterwards removed to the side, to give place to the more beautiful work of Ghi- berti, in the year 1424. All three sets of gates have been well engraved in outline by Lasinio, Le tie Porte del Battisterio di Firenze (Florence, 1823). Andrea was made citizen of Florence, and died there in 1345 ; he was buried in the cathedral of Santa Maria del Fiore. See Vasari, Vite de Pittori, etc. (ed. Flor. 1846 sq.); Cicog- nara, Storia della Scultura; Rumohr, Italienische For- schungen; Rosini, Storia della Pittura Italiana, s. v.
Pisano, Giovanni, the son and assistant of Nic- cola, was born at Pisa about 1240. He seems to have inherited much of his father's genius, but had an entire- ly different taste. Gothic architecture was his choice, and he was fond of exaggeration and fantastic action and expression in sculpture. As early as the making of the Siena pulpit he was a master in his own right, and went in 1268 to Naples to fulfil a commission from the Franciscans there ; he also designed the Episcopal