PALEY
423
PALLADIO
Anerio, and'Francesco Suriano, has long been a matter
of controversy. The undertaking was not particularly
congenial to Palestrina and kept him from original
production, his real field of activity. His wife's death
in 1580 affected him profoundly. His sorrow found
expression in two compositions, Psalm c.xxxvi, "By
the waters of Babylon", and a motet on the words
"O Lord, when Thou shalt come to judge the world,
how shall I stand before the face of Thy anger, my
sins frighten me, woe to me, O Lord". With these
he intended to close his creative activity, but with the
appointment in 1581 as director of music to Prince
Buoncompagni, nephew of Gregory XIII, he began
perhaps the most brilliant period of his long life.
Besides sacred madrigals, motets, psalms, hymns in honour of the Blessed Virgin, and masses, he produced the work which brought him the title of "Prince of Music ", twenty-nine motets on words from the "Can- ticle of Canticles". According to his own statement, Palestrina intended to reproduce in his composition the Divine love expressed in the Canticle, so that his own heart might be touched by a spark thereof. For the enthronement of Sixtus V, he wrote a five-part motet and mass on the theme to the text "Tu es pas- tor ovium", followed a few months later by one of his greatest productions, the mass "Assumpta est Maria ". Sixtus had intended to appoint him director of the papal choir, but the refusal of the singers to be directed by a layman, prevented the execution of his plan. During the last years of his life Palestrina wrote his great "Lamentations", settings of the litur- gical hymns, a collection of motets, the well-known "Stabat Mater" for double chorus, litanies in honour of the Blessed Virgin Mary, and the offertories for the ecclesiastical year. His complete works, in thirty- three volumes, edited by Theodore de Witt, Franz Espagne, Franz Commer, and from the tenth volume on, by Haberl, are published by Breitkopf and Hartel; Mgr Haberl presented the last volume of the com- pleted edition to Pius X on Easter Monday, 1908. Palestrina's significance lies not so much in his un- precedented gifts of mind and heart, his creative and constructive powers, as in the fact that he made them the medium for the expression in tones of the state of his own soul, which, trained and formed by St. Philip, was attuned to and felt with the Church. His cre- ations will for all time stand forth as the musical embodiment of the spirit of the counter-reformation, the triumphant Church.
Baini, ilfun'-'- ^i>'ri>-'-r^irln' '/>'Ua vUa c dclle opere di Giovanni Pierluigid'i I' : i;. : 1 ^-M ; Baumker, Paiesfruta (Frei-
burg, lS77t, /> ' Jahrbuch (Ratisbon, 1886);
Feli.'c, Pal, !....: .: /,.. <,,■ i./tf (Paris, 1897) : Capecela- TRO. Life of S:. i'.,,.,,. ,\i,i iLuu.lou, 1894); Haberl, Bausleine far Musikgesch (Leipzig, 18S8).
Joseph Otten.
Paley, Frederick Apthorp, classical scholar, b. at Easingwold near York, 14 Jan., 1815; d. at Bourne- mouth, 9 Dec, 1888, son of the Rev. Edmund Paley and grandson of William Paley who wrote "Evidences of Christianity " . He was educated at Shrewsbury School and St. John's College, Cambridge, whore he taught and continued to study for eight years after his B. A. degree (1838). His studies were mainly classical; but, de- spite an incapacity for mathematics, he was interested in mechanics and in natural science, and was an enthu- siastic ecclesiological antiquary. In 1846, being well known as a Cambridge sympathizer with the O.xford Movement, he was expelled from residence in St. Johii's College, on suspicion of having influenced one of his pupils to become a Catholic. He was himself re- ceived into the Church in this year. For the next four- teen years he supported himself as a private tutor in several Catholic families successively (Talbot, Throck- morton, Kenelm Digby) and by his pen. From 1860, when Tests began to be relaxed, he again lived at Cam- bridge until 1874: from 1874 to 1877 he was professor of classical literature at the abortive Catholic Univer-
sity College at Kensington. From 1877 till his death
he continued to write assiduously. But the interrup-
tion of his university career, the want of a settled com-
petence, and his banishment from the place, the soci-
ety, and the learned facilities which might best have
improved his talents and industry, had the effect of
rendering nearly all his voluminous production ephem-
eral. His many classical editions, which had a great
and not undeserved vogue and uifluence in their day.
became soon obsolete and marked no decisive epoch in
classical philology. Yet his work on Euripides and
jEschylus in particular may still be consulted with
profit, at least as a monument of protest against the
Victorian mock-archaic convention in translations
from Greek poetry; and it is easy to underrate now the
merits of work which met a great demand for school
and college use, and itself did much to evoke the more
scientific scholarship which has superseded it.
His works number more than fifty volumes, besides numerous magazine articles and reviews contributed to the "American Catholic Quarterly", "Edinburgh Review", "Journal of Philology" etc. The first of his classical pubhcations, and the one which estab- hshed his reputation as a scholar, was the text of ^schylus (1844-7); during the next forty years he edited with the commentaries, Propertius (1853); Ovid's "Fasti" (1854); ^Eschylus (1855); Euripides (1857); Hesiod (1861); Theocritus (1863); Homer's "Iliad" (1866); Martial (1868); Pindar (transl. with notes) 1868; Aristophanes' "Peace" (1873); Plato's "Philebus" (1873); "Private Orations of Demos- thenes" (1874); Plato's "Thstetus" (1875); Aristo- phanes' "Acharnians" (1876); "Medicean Scholia of iEschylus" (1878); Aristophane.s' "Frogs" (1878); Sophocles (1880). To these must be added many critical inquiries, especially on the Homeric question; and most of his Commentaries ran through three or four editions, of which Marindin remarks that "every new edition was practically a new work". He found leisure to issue books on architecture; his "Manual of Gothic Mouldings", first published in 1845, went into a fifth edition in 1891.
Did. Nat. Biog., a. v.
J. S. Phillimore.
Pall, a heavy, black cloth, spread over the coffin in the church at a funeral, or over the catafalque at other services for the dead. In the centre of it there is gen- erally a white or red cross. It must always be black, but its material and ornamentation may vary. Sym- bols of death, such as skulls, cross-bones etc., forbid- den on the altar and ministers' vestments, are allowed on palls. The pall is in universal use, though not pre- scribed. Where, however, there is no catafalque or bier, absolution may not be given except a black cloth be extended on the floor of the sanctuary (S. R. C, 3535, 5).
Castaldus, lib. II, s. 9. c. v; De Herdt, Sac. Liturg. Praxis^
'"• "• ^*^- Andrew B. Meehan.
Pall (Chalice Cover). See Altar, sub -title Altar-Linens; Chalice.
Palladio, Andrea, ItaUan architect, b. at Vicenza, 1508; d. at Venice, 19 Aug., 1580. There is a tradi- tion that he was the son of a poor carpenter, with no surname of his own, and that the famous humanistic poet, Gian Giorgio Trissino, became his patron and gave him the name of Palladio, in fanciful allusion to Pallas, the Greek goddess of wisdom. After a brief apprenticeship as sculptor he travelled and studied the remains of classical architecture, endeavouring to determine its principles by the aid of Vitruvius's writ- ings. The results of these-studies appear in the build- ings which he constructed, of which the earliest known is the Palazzo Godi at Lonedo (1540). The execution of his design for the rebuilding of the basilica in his native town was commenced in 1549. The colonnades
