PIPPI, (It umo, commonly called Ottl.J0 RomAxo (1492-1546). An Italian architect and painter, the chief follower of Raphael. lie was horn at Rome, and of his early life little is known, except that at an early date he en tered the school of Raphael. Vasa ri says that Raphael loved him as a son, and we know that he left all his property to Giulio and Penni, another pupil. Ile was certainly the master's most important pupil, on whom he chiefly re lied for the execution of his designs, and Giulio assisted in the Stanvt del Incendio, the Loyyie of the Vatican, and in the Villa Fa rnesina. (See RAtut.kEr,.) Be was also employed to paint easel pictures in Raphael's studio, especially such as were intended for foreign patrons. like the large Madonna in the Louvre and the so-called "Pearl" at Madrid. 'After Raphael's death lie assisted in the Sala di Postantino in the Vatican. himself painting the chief composition, the battle pic ture; finished, together With Penni, the tion of the Virgin." in the Vatican Gallery; and himself painted, in an admirable manner, the lower part of Raphael's After Raphael's death Giulio was the acknowl edged head of the school, and was as important in architecture as in painting. Unfortunately, his architectural works at Lome have been either spoiled by restoration o• left. inonnplete; but we know that lie designed and decorated for Cardi nal Medici Villa Madama and Villa Lante, of which frescoes a few fragments arc preserved in the Villa Borghese. The best. of his easel pic tures are, perhaps, the "Madonna with the ('at." in the Naples Museum; "Apollo and the Pitti l'alace (Florence) ; and his masterpiece of this early period, "The Stoning of Saint Ste phen," the altar piece of Santo Stefa no. Genoa. Other examples, both religions and mythological, are in Rome, the Uffizi (Florence), the galleries of Vienna, Dresden. the National Gallery (Lon don), and especially in the Louvre, which is rich in his works. Compared with 1Zaphael. his inde pendent works show an utter absence of religious feeling and a lack of grace. The forms are often coarse. though the drawing is good, and the color is marred by the use of deep black shadows and a dull brick red. His work. on the whole. shows a greater influence of Michelangelo than of In 1524 Giulio went to Mantua at the call of Duke Federigo Gonzaga. who placed him at the bead of all his artistic undertakings, and raised him to the nobility. Here he developed a remarkable architectural :fetidly, rebuilding whole quarters of the city. Ile built the ducal
palace (1533-40). which was decorated after his designs, prominent among which were a series of frescoes of the Trojan War. Among his other architectural works were the great Church of San Benedetto, ten miles south of Mantua; the interior of the Cathedral of Mantua : his own tasteful house 11544) built around a simple court, and ornamented with a fine rustics facade: and the greatest of all his achievements. the Pa lazzo del T5. just outside the city walls. Tlnu.di enlarged from a stable for the Doke's stud. this palace is the best preserved example of a princely villa of the golden age of Italian art. it is a one-story rnstica building.. in the Dorie style.
The entire interior is decorated with stucco and (rescue.. after Giulio's designs, by his pupils. The great hall has realistic piirtraits of the Duke's favorite which are epoch making in animal painting. beautiful of all the decoration. are those of the second hall, repre senting the of Two of the drawings for this cycle, preserved in the \ illa _Mani. are. perhaps. his most charming work. (If the n-n iii Hing rthillet the must famous is that in which the "Fall of the thiants" through duriter's thunderbolts is represented in a very realistic msugorr. The scenes are not divided by frames or paneling, and the spectator stands in the midst of the catastrophe, which is so realis tically represented a. to ereate the impression that the walls are falling in with the giants.
The chief characteristics of Ohilio's 'Mantuan work are profound antiquarian knowledge and a pronouneed tendency toward realism. 'rue action is exaggerated and mannered. and i» such fres coc. as the "Fall of the (Hants." which greatly inthicnced contemporary painter., it is already llaroceo. Of his later religions works the most remarkable are the designs for frescoes in Sant' Andrea. 'Mantua, and for Torbido's paintings in the l'athedral of Verona. Of his easel paintings the of the Kings," in the Louvre. and the "Aladonna (lei Catina" (Dres den), in which the Christ child is naively repre sented as being bathed. were excented by his own hand. Pippi was also at the head of all the Duke's engineering undertakings, and in draining the marshes about \l antra contracted a fever, from which he died at 'Mantua. November 1, 1546, just as he was about to return to Rome, after having been appointed architeet-in-chief of S... Peter's. Consult D'Areo, itt/o.rin della rita et di lie open- di Giulio Pippi (.Mantua. 1892).