Lo.

2. A school in Andover, Mass., endowed by the Phillips family in 1778.

Philosophers, The. See GEOMETRICIANS, Two PHILOSOPHERS, and FOUR PHILOSOPHERS. Philosophy. See SCHOOL OF ATH

ENS.

Phocas, Column of. A column in the Forum, Rome, and the one referred to by Byron as

"The nameless column with the buried base.'

re

The earth which had accumulated around the pedestal was moved in 1813, when the inscription showed that the column was raised to the Emperor Phocas, in 608, by the Exarch Smaragdus.

"Has not the column lost something of its charm? Before, there was a beauty and a mystery around it - it was a voice that sounded from a dim and distant past, and therefore all the more impressive. But now the ideal light has vanished, and the column loses half its grace, since it speaks to us of the wickedness of tyrants and the weakness of slaves." G. S. Hillard. Tully was not so eloquent as thou, Thou nameless column with the buried Byron. Phoebus and Aurora. See AURORA.

base!

Phoenix, The. An Arctic explor

ing ship which sailed from England under the command of Capt. Inglefield, May 19, 1853.

Phoenix Park. A fine pleasureground and favorite resort in Dublin, Ireland.

Phoenix Theatre. See COCKPIT. Phoul-a-Phouka. A beautiful and noted waterfall in the county of Wicklow, Ireland,

Piazetta. [The Small Square.] A public square in Venice, connecting with the Piazza di San Marco, and opening out upon the water of the harbor. At the foot of this enclosure are the two columns oi St. Mark and St. Theodore.

The splendid approach to the Piazetta; the transfer to the gondola and its soft motion; the swift and still glide beneath the balconies of palaces-made up altogether a moment of high happiness. N. P. Willis.

Piazza, The. A name given to a

row of lofty houses in Covent Garden, London, built by Inigo Jones, from the resemblance it bore to the arcades common in Italian towns. The popularity of this odd name may be inferred from the frequency in the baptismal registers of the time of such names as Paul Piazza, Mary Piazza, etc.

Unfortunately for the fishmongers of London, the Dory only resides in the Devonshire seas; for could any of this company only convey one to the Temple of luxury under the Piazza, where Mecklin, the high priest, daily serves up his rich offerings, great would be the reward of that fishmonger. Fielding.

And even in Italy such places are With prettier name in softer accents spoke, For, bating Covent Garden, I can hit on No place that's called "Piazza" in Great Britain. Byron. Piazza, The. A coffee-house, no longer standing, in Covent Garden, London. Sheridan often visited the Piazza.

"Twas when the cup was sparkling before us, and heaven gave a portion of its blue, boys, blue, that I remember the song of Roland at the Old Piazza Coffee House. And now where is the Old Piazza Coffee House? Where is Thebes? Where is Troy?" Thackeray.

Piazza Barberini. [Barberini Square.] A well-known public square in Rome, Italy, near the Via Felice.

"Whoever has been in Rome is well acquainted with the Piazza Bar

umn.

Piazza del Campidoglio. [Square of the Capitol.] A square upon the Capitoline Hill, Rome, having upon one side the Palace of the Conservators, upon the other the Museum of the Capitol, at the back the Palace of the Senator, and in the centre the bronze equestrian statue of Marcus Aurelius. This square, with the group of buildings upon it, taken collectively, is often referred to as the Capitol. See also CAPITOLINE HILL.

"The central building in front is called the Palace of the Senator; for there is still a Roman Senator, a harm. less puppet created by the pope, and resembling one of his namesakes of antiquity as a chattering cicerone resembles Cicero. The palace is not his residence, but a place where he some. times comes to amuse himself and the public by holding a court." Hillard.

"The building on the south side of the square to the right as we face the Palace of the Senator is called the Palace of the Conservatori. The Conservatori were originally administrative officers, the senator being a judicial magistrate. Their functions have long since become merely nominal."

to Brutus. The question of his death is
enrolled in the Capitol; his glory not ex
tenuated, wherein he was worthy; no
his offences enforced, for which he suffered
death.
Shakespeare.

Ages on ages shall your fate admire,
No future day shall see your names ex
pire,

While stands the Capitol, immortal dome!
Byron

Piazza del Duomo. [The Cathedral Square.] A well-known public square in Florence, Italy, in which some of the most interesting events in the history of the city have taken place.

Piazza del Gran Duca. See PIAZZA DELLA SIGNORIA.

Piazza del Popolo. [Square of the People.] A square, near the Porta del Popolo, in Rome, from which three streets radiate into the city-the Babuino, the Corso, and the Ripetta. See OBELISK OF THE PIAZZA DEL POPOLO. Piazza della Annunziata. [Square of the Annunziata.] A wellknown public square in Florence, Italy. It is surrounded by arcades and adorned with an equestrian statue, fountains, and busts of the Medici family.

Piazza della Signoria. [Square of the Signory.] The great public square of Florence, Italy, and the scene of all the principal events in its history. It was long called the Piazza di Gran Duca, Square of the Grand Duke [of Tuscany], but now bears again the still more ancient name of the Piazza della Signoria.

"One of the first places which a traveller visits in Florence is the Piazza del Gran Duca, a place not impos. ing from its size, but interesting from historical associations, and the works of art which are here assembled." Hillard.

"Who has not silently wondered on thinking of the Capitol! This mighty word agitates you before. hand, and you are disappointed on finding a moderately grand square flanked by three palaces not at all grand. Nev. ertheless, it is imposing: a grand stone staircase leading up to it gives it a monumental entrance. Taine, Trans.

Then none have I offended. I have done no more to Cæsar than you shall do

is terminated at one end by the | buildings of the Propaganda, and above it, and connected by a magnificent flight of steps, is the church of La Trinità de' Monti.

"This flight of steps leads from the Piazza di Spagna to the promenade on the Pincio, and, crowned as it is with the façade of the church of the Trinità de' Monti, and the Egyptian obelisk in front of the church, it forms one of the noblest architectural combinations to be seen in Rome or anywhere else." Hillard.

And, veiling thus my discontent,
This missive o'er the main
Unto my friend at Rome I sent,
In the sunny" Square of Spain."
T. W. Parsons.

Piazza Navona. A large square in Rome, ornamented with three fountains. It has served as a market since 1447.

"The Piazza Navona is an ir regular area of an oblong shape about 850 feet in length and 180 in breadth. The most conspicuous object in it is an immense fountain in the centre, which is one of the heaviest sins against good taste that was ever laid upon the muchenduring earth. .. On Saturdays and Sundays in the month of August, the sluices which carry off the waters of the great fountain are stopped, and all the central portions of the Piazza are over. flowed to the depth of one or two feet. The populace then, obeying that impulse which draws all living things towards water in hot weather, rush to the temporary lake in cager crowds. Horses, oxen, and donkeys are driven into the cooling water; vehicles of all kinds, from the stately coach of a Ro. man principe to the clumsy wagon of a contadino, roll through them.. On these occasions the outer margin of the Piazza not reached by the water, and especially the capacious steps of the church of St. Agnes, are occupied by crowds of idlers. . . . And the whole spectacle is described by those who have witnessed it as one of the most agreeable in Rome."

I went (as was my usual costome) and spent an afternoone in Piazza Navona, as well to see what antiquities I could purchase among the people who held mercat there, as to heare the montebanks prate and distribute their medicines. This was formerly the Circus or Agonales, dedicated to sports and pastimes, and is now the greatest mercat of the Citty, having three most noble fountaines, and the stately palaces of the l'amfilij, to which add two convents for friars and nuns all Spanish. John Evelyn, 1644.

Piazza S. Marco. See ST. MARK'S SQUARE.

Picador. A picture by Jean Léon Gérôme (b. 1824), the French painter. Piccadilly. A leading street in London, consisting of shops and fashionable dwelling-houses, said to be so called from the ruffs, or "pickadils," worn by the gal lants of James I. and Charles I., the stiffened points of which resembled spear-heads or picardills, a diminutive of pica, the Italian and Spanish name for spear. Piccadille" is however referred to some years before the introduction of these collars, and it is surmised by Jesse that the collar may have been so called from being worn by the frequenters of Piccadilla House, which in turn may have taken its name from the Spanish peccadillo (a venial fault).

66

I returned on foot to Piccadilly; again the London weather begins the small and constant rain, the dissolving mud. Tuine, Trans.

Picpus, Rue de. A street near the Barrière du Trône, Paris.

Picts' Wall. See HADRIAN'S WALL. Pictured Rocks. A series of sandstone bluffs extending for about five miles along the shore of Lake Superior, and rising vertically from the water to a height of from 50 to nearly 200 feet. They derive their name from the very curious manner in which large portions of the surface have been colored by bands of brilliant hues. The French voyageurs call these cliffs Les Portails, from the strange forms into which they have been excavated and worn by the surf which the lake has for centuries dashed against their base.

Westward by the Big-Sea-Water,
Came unto the rocky headlands,
To the Pictured Rocks of sandstone,
Looking over lake and landscape.
Longfellow.

He's whittling by St. Mary's Falls,

Upon his loaded wain;

He's measuring o'er the Pictured Rocks,
With eager eyes of gain. Whittier.

Pierre aux Dames. A remarkable stone block with female figures in relief, thought to be of Celtic origin, formerly standing on a little hill near Geneva, Switzerland, but now transferred to the city. [Called also Pierre aux Fées.]

Pierre de Sân. See STONE OF SAN. Pierre Levée. A Druidic monu

ment near Poitiers, France, consisting of several blocks of sandstone. It is alluded to by Rabelais, who ascribes the erection of it to Pantagruel.

Pietà, La. [Pity, compassionate sorrow.] A very common subject of representation by the great artists of the Middle Ages, in which the Virgin as the Mourning Mother (Mater Dolorosa) is exhibited holding her dead Son in her arms, or in her lap, or lying at her feet, and lamenting over him.

"This incident has no mention in the Gospels; but Art would have been cold in feeling and barren in invention if she had not perceived a vacant place here, waiting to be filled with one of the most touching scenes that Nature presents. For it was the old as it is the ever-new story, that Lamentation over the Dead.. Thus

the Pietà, to those who consider some of its finest examples, has a twofold sense, the sorrow of a mother weeping for her son, and also the last strong cry of our humanity. ... Yet natural as this subject appears, it was not of early invention. The very word Pietà would have found no place in early art, where Faith and not Pity was the paramount object. It may be doubted whether this subject arose in Italy before the thirteenth century, when Art and Nature began to recognize what each could do for the other; and it would be difficult to determine whether the pen of the the writer or the pencil of the painter took the initiative."

Lady Eastlake.

Of the numerous compositions upon this theme, the following may be named as among the more celebrated and better known.

Pietà. A small picture by Anthony van Dyck (1599-1641), and one of his admired works. In the Munich Gallery. There is also a larger picture upon this subject by the same painter in the Museum of Berlin, Prussia. Pietà.

A picture by Giovanni Bellini (1426-1516). In the Brera at Milan, Italy. Other examples of this subject by this master are in the Lochis-Carrara Gallery, Bergamo, in the Vatican, at Toledo, in the Stuttgardt Gallery, and elsewhere.

Pietà. A picture ascribed to Andrea Mantegna (1431-1506), the Italian painter. Now in the Berlin Museum.

Pietà. A picture by Antonio Allegri, surnamed Correggio (1494-1534). In the Gallery of Parma, Italy.

Pietà. A celebrated marble group by Michael Angelo (14741564) in one of the chapels of St. Peter's, at Rome, representing the Virgin with the dead body of Christ upon her knees. It was one of Michael Angelo's earliest works, executed in his 24th year, and said to be the only one upon which he has inscribed his name.

"Michael Angelo's principal work, however, that work by which he suddenly passed from being an esteemed artist to be the most famous sculptor in Italy, is at the present day as good as veiled; the mourning Mary with her dead Son in her lap,

la Pietà,' as the Italians call the group. Placed at first in a side chapel in the old Basilica of St. Peter, it received another place on the rebuilding of the church, and now again stands in a side chapel of St. Peter's, so high, however, and in such a fatal light, that it is for the most part impossible to obtain a sight of it, either near or at a distance." Grimm, Trans.

"In none of his works has be displayed more perfect knowledge of design and anatomy, or more profound truth of expression." Ernest Breton.

"His [Michael Angelo's] Vir gin's head, generally of an unsympa. thetic type, is here appropriate in its grandly abstract and solemn character, a grief locked within, stony as the material in which it is rendered. . . . The curious flatness of the Saviour's face is

PIÉTÉ.

Pietà. An admired picture by Francesco Francia (1450-1518). Now in the National Gallery, London.

Pietà. An admired picture by Pietro Perugino (1446-1524). In the Palazzo Pitti, Florence, Italy.

"Perugino's exquisite picture in the Pitti, a work in which there are more beautiful heads than perhaps in any other in the world." Lady Eastlake.

Pietà. A picture by Raphael Sanzio (1483-1520), usually styled a Pietà, but properly a "Deposition from the Cross."

"This wonderful drawing (there is no finished picture) was in the collection of Count Fries, and then belonged to Sir T. Lawrence. There is a good engraving." Mrs. Jameson.

Pietà. A picture by Andrea Vannucchi, called Andrea del Sarto (1487-1531), the Italian painter, and considered one of his best works. In the Belvedere Gallery, Vienna, Austria. There is another upon the same subject in the Pitti Palace, Florence, Italy.

Pietà. A celebrated picture by Guido Reni (1575-1642), representing the body of Christ on a bier, with the weeping mother and two angels at the sides, and below the patron saints of Bologna. In the Gallery at Bologna, Italy.

"This wonderful picture was dedicated as an act of penance and piety, by the magistrates of Bologna, 1616, and placed in their chapel in the church of the Mendicanti,' otherwise S. Maria-della-Pietà. It hung there for two centuries for the consolation of the afflicted. It is now placed in the Academy of Bologna for the admiration of connoisseurs."

Mrs. Jameson.

Pietà. A small altar-piece by Hans Memling (d. 1495), the Flemish painter. Now in the St. John's Hospital at Bruges, Belgium.

Pietra del Bando. [Stone of Proclamation.] A porphyry pillar standing near St. Mark's Church in Venice, Italy, from which, according to tradition, the ancient laws of the Republic of Venice were proclaimed.

Pietro, San. See SAN PIETRO IN MONTORIO and SAN PIETRO IN VINCOLI.

Pigna. A gigantic finial, in imitation of a fir-cone, which once crowned the summit of Hadrian's Mausoleum. Now in the garden of the Vatican, Rome.

"This pine cone, of bronze, was set originally upon the summit of the Mausoleum of Hadrian. After this imperial sepulchre had undergone many evil fates, and as its ornaments were stripped one by one from it, the cone was in the sixth century taken down and carried off to adorn a fountain, which had been constructed for the use of dusty and thirsty pilgrims, in a pillared enclosure, called the Paradiso, in front of the old basilica of St. Peter. Here it remained for centuries; and when the old church gave way to the new, it was put where it now stands, useless and out of place, in the trim and formal gardens of the Papal Palace.

At the present day it serves the bronze-workers of Rome as a model for an inkstand, such as is seen in the shop windows every winter, and is sold to travellers, few of whom know the history and poetry belonging to the original." C. E. Norton.

"I have looked daily over the lonely, sunny gardens, where the wide sweeping orange-walks end in some distant view of the sad and distant Campagna; and where the huge bronze pine by which Dante measured his great giant yet stands in the midst of graceful Vases and bas-reliefs wrought in former ages, and the more graceful blossoms blown within the very hour." Mrs. Kemble.

His face appeared to me as long and large
As is at Rome the pine cone of St. Peter's,
And in proportion were the other bones.

Dante. Inferno, XXXI., Longfellow's
Translation.

Pigott Diamond. A diamond, weighing 49 carats, and estimated to be worth £40,000, brought to England by Earl Pigott, and sold in 1801.