Page:Dictionary of National Biography, Second Supplement, volume 3.djvu/126

 ’Guide to the Botany of Shrewsbury,' and before his death completed for the 'Victoria County History' an account of the botany of the county. After nearly twenty years' preparation Phillips in 1887 published his chief work, 'A Manual of the British Discomycetes,' in the International Scientitic series (with twelve excellent plates drawn by himself).

Compelled with advancing years to discontinue microscopic work, Phillips engaged in archæological research of various kinds. He made special studies of the earthworks, castles, and moated houses of Shropshire. Many of his results were published in the 'Transactions of the Shropshire Archæological Society,’ in 'Salopian Shreds and Patches,' in 'Bye-Gones,' and in 'Shropshire Notes and Queries,' which he edited, and to a great extent wrote, towards the close of his life. 'The Ottley Papers,' relating to the civil war, which he edited for the Shropshire Society between 1893 and 1898, form a complete county history for the period; and he carefully edited the first part of Blakeway's 'Topographical History of Shrewsbury.' He took a prominent part in the preservation of the remains of Uriconium; actively helped to arrange the borough records of Shrewsbury, and to prepare the calendar (1896); edited the 'Quarter Sessions Rolls' of Shropshire from 1652 to 1659, and transcribed the parish registers of Battlefield (2 vols. 1899–1900) and Stirchley (1905) for the Shropshire Parish Register Society. In 1896 Phillips, a methodist and at one time a local preacher, published 'Early Methodism in Shropshire.' The conversion of the Shrewsbury Free School buildings into a museum and free library (from 1882) owed much to Phillips, who became the curator of botany. Many manuscript volumes by him on antiquarian subjects are preserved there. His botanical manuscripts and drawings, including his large correspondence with botanists at home and abroad, were purchased at his death for the botanical department of the British Museum. Phillips was elected a fellow of the Linnean Society in 1875, and was F.S.A. He became a borough magistrate in 1886, and was presented with the freedom of the borough on 17 Aug. 1903. He died of heart-disease at his residence in Canonbury, Shrewsbury, on 23 Oct. 1905, and was buried in the general cemetery, Shrewsbury.

Phillips married in 1846 Sarah Ann, daughter of Thomas Hitchins of Shrewsbury, who died in 1895. Two sons and two daughters survived him.

Miles Joseph Berkeley [q.v.] dedicated to Phillips a genus of fungi under the name Phillipsia.

 PIATTI, ALFREDO CARLO (1822–1901), violoncellist and composer, was born on 8 Jan. 1822 at Bergamo, where his father, Antonio Piatti, was leader of the town orchestra. At five years old he began to learn the violoncello under his great-uncle Zanetti, and at seven played in the orchestra, next year succeeding to Zanetti's place. In 1832 he obtained a five years' scholarship at the Conservatorio of Milan. At the end of his course he played in public a concerto of his own composition, and was presented with the violoncello he had used, on 21 Sept. 1837. He then played in the Bergamo orchestra, taking trips with his father when there was a chance of pla3dng solos. After a time he went into Austria and Hungary, but fell ill at Pesth, and was obliged to sell his prize violoncello. Rescued by a Bergamo friend he returned home by way of Munich, where he met Liszt, and played at his concert. Liszt publicly embraced him, and he was thrice recalled. After appearing at Paris and Ems, he reached London, where he played in the opera orchestra and at private parties, and made his debut as soloist at Mrs. Anderson's concert on 31 May 1844. The boy Joachim first appeared at the same concert. Piatti made several other appearances, and a provincial tour in the autumn; his success everywhere was immediate and complete, but he earned little, and was able to return home only by the assistance of the vocalist Mme. Castellan. In 1845 he toured in Russia. In 1846 he returned to England, where he at once became a principal figure in London musical life. His small figure and serious spectacled face were thenceforth familiar for half a century to all London concert-goers. Mendelssohn talked of writing a concerto for him, which however has not been found. Alike in execution, in tone, and in expression he was unsurpassed. Difficulties had no existence for him, and his delivery of a melody was a lesson to vocalists. He took composition lessons from Molique. After Lindley's retirement in 1851 Piatti had no rival, leading the violoncellos at the 