Peiraikos

Peiraikos became frequently referred to in discussions of art in the late Renaissance and especially the Baroque periods, when genre subjects were becoming popular again, and the need for classical authority was still strongly felt.

[14] Pieter van Laer (1599 – c. 1642) was a Dutch Golden Age painter of genre scenes, active for over a decade in Rome, where his nickname was Il Bamboccio.

Peiraikos is often mentioned in the controversies over the Bamboccianti, for example by Salvator Rosa in his Satires, and later by the Dutch biographer of artists, Samuel Dirksz van Hoogstraten in his Inleyding tot de Hooge Schoole der Schilderkonst (Introduction to the Academy of Painting), Rotterdam 1678.

[20] In Italy he is mentioned in passing by Cardinal Gabriele Paleotti, whose De sacris et profanis imaginibus (1582, "Discourse on Sacred and Profane Images") was one of the treatises setting out the Counter-Reformation church's views on the proper role and content of art.

[21] Giovanni Battista Agucchi, the secretary of Cardinal Odoardo Farnese and a mover and shaker in the Roman art scene, called Jacopo Bassano the modern Peiraikos, contrasting the pair to Caravaggio and Demetrios of Alopeka, who sculpted "warts and all" portraits of important figures.

[22] In France, André Félibien was an influential codifier of the theory of the hierarchy of genres in art, and cited Pliny on Peiraikos, assuming the disapproval of his predecessor.