PIPERIN. base called pipcridiii (C'jH,iN). Pijierin is used for making' lu'Iiotropin and sometimes as a sub- stitute lor pi'iipor. PIPE KOLLS. A name applied to the great or annual rolls of the Knglish Kxchequer, written for the treasurer. They are so called because of their resemblance to a pipe, or on account of tlio favorite comparison of the public treasury to a reservoir, into which eery branch of revenue (lowed through these pipes. They were written by the treasurer's scribe, and controlled by the Chancellor's scribe. They contained a statement of the King's revenue, drawn up by the sheriff of one or more shires, and an account of the expendi- tures made by the sheriff in his office. The chief item of the revenue was the 'ferm' of the shire, which consisted of the King's income from the royal demesne, the yearly fines paid by the boroughs for their corporate privileges, and the fines decreed in the county courts. Other items were the Danegeld, a tax levied to resist the Northmen, the profits of the pleas of the Crown, the King's feudal income from reliefs, escheats, aids, and the proceeds of the tallage of the royal demesne. The oldest extant pipe roll is that of 31 Henry I. (1131). These rolls extend from the second year of Henry II. (11.50) tfJl 18;i:!, wlien the ancient system of the Exechequer was abolished, with but two breaks of a single year, and are among the most valuable of records, preserved in the Public Record Office. In 1883 the Pipe Roll Society was founded, with the intention of pub- lishing all the pipe rolls. Its publications ( 17 vols.. London, 1884-97) include the 5-24 Heni-y II.. forming a combination with the publications of the Record Commission. The latter had in 1833 published the pipe roll of 31 Henry I. and the Chancellor's roll of 3 .John; and in 1844 the pipe rolls 2, 3, 4 Henry II. and 1 Richard I. Consult Hall, Introdiirlion to the Study of the Pipe Rolls (London, 1884). PIPE VINE. See Aristolochia. PIPI, pe'pe (Brazilian name) . The ripe pods of Ctesal|)inia Paip:e, used in tanning, and not infrequently exported with divi-divi (q.v.), though being infciior to divi-divi, they are little exported separately. They are easily distin- guished from the pods of divi-divi because they are straight instead of curved. The plants grow in the .American tropics. See C.esalpinia. PIPING CRO-W, or Crow-Shrike. One of the Australian shrikes of the genus Gymnorhina, — large, black and white, insect-eating, showy birds, with loud, piping voices, alluded to in such kx'al names as 'organ-bird' (Giimnorhina hypcrleuca) of Tasmania, and 'Mute-bird.' The latter {Ci/m- norhina tihicen) is very common throughout Australia and frequents the gardens and lawns, hunting for grasshoppers, of which it eats enor- mous quantities. Its intelligence, lively manners, and considerable vocal powers make it a favorite cage bird. Dealers call these birds 'Australian magpies.' Compare Obgan-Bird. PIPIT, or Pipit-Lark. See Titlark. PIP'PA PASSES. A dramatic poem by Rob- ert Browning (1841). Pippa. a girl from the silk-mills at Asolo. on a holiday passes several groups of people at a critical moment in the lives of all, and by snatches of her song, which they 51 PIPPI. overhear, changes the fate of each, and in one case her own. PIPPI, pip'p*, GiuLio, commonly called Gillio RoM.VNO ( 14!)2-154(;) . An Italian architect and painter, the chief follower of Rapliael. He was liorn at Rome, and of his early life little is known, e.xcejit that at an early date he en- tered the school of Raphael. Vasari says that Raphael loved him as a son. and we know that he left all his property to (jiulio and Penni, another pupil. He was certainly the nurster's most important pupil, on whom he chiefly re- lied for the execution of his designs, and Giulio assisted in the Utanza del Inceiidio, the Loggie of the Vatican, and in the Villa Farnesina. ( See Rapii.el. ) He was also employed to paint easel pictures in Raphael's studio, especiall}' such as were intended for foreign patrons, like the large iladonna in the Louvre and the so-called "Pearl" at Madrid. After Raphael's death he assisted in the .SV//n di Costantiiio in the Vatican, himself painting the chief composition, the battle pic- ture ; finished, together with Penni, the "Corona- tion of the Virgin," in the Vatican Gallery; and himself painted, in an admirable manner, the lower part of Raphael's "Transfiguration." After Raphael's death Giulio was the acknowl- edged head of the school, and was as important in architecture as in painting. LTnfortunately, his architectural works at Rome have been either spoiled by restoration or left incomplete; but we know that he designed and decorated for Cardi- nal JModiei Villa Madama and Villa Lante, of which frescoes a few fragments are preserved in the Villa Borghese. The best of his easel pic- tures are, perhaps, the "Madonna with the Cat," in the Naples Sluseum ; "Apollo and the Muses," Pitti Palace (Florence) ; and his niasterpieee of this early period, "The Stoning of Saint Ste- |ilien," the altar piece of Santo Stefano. Genoa. Other examples, both religious and mythological, are in Rome, the ITffizi (Florence), the galleries of Vienna, Dresden, the National Gallery (Lon- don), and especially in the Louvre, which is rich in his works. Compared with Raphael, 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 Rajihael. In 1.524 Giulio went to Mantua at the call of Duke Federigo GJonzaga, who ])laced him at the liead of all his artistic undertakings, and raised him to the nobility. Here he develojicd a remarkable architectural activity, rebuilding whole quarters of the city. He built the ducal palace (l.i3,i-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 ilantua; the interior of the Cathedral of Jlantua : his own tasteful house (1.544) built around a simple court, and ornamented with a fine rustica facade; and the greatest of all his achievements, the Pa- lazzo del Tf", just outside the city walls. Though enlarged from a stable for the Duke's stud, this palace is the best preserved example of a princely villa of the golden age of Italian art. It is a one-storv rustica building, in the Doric style.
