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Rh manufactured after his removal to Paris, as the shells are always well-known forms from the Eocene deposits of the Paris basin. Casts from these objects were fixed on to a metal dish or vase of the shape required, and a fresh cast of the whole formed a mould from which Palissy could reproduce many articles of the same kind. The various parts of each piece were painted in realistic colours, or as nearly so as could be reached by the pigments Palissy was able to discover and prepare. These colours were mostly various shades of blue from indigo to ultramarine, some rather vivid greens, several tints of browns and greys, and, more rarely, yellow. A careful examination of the most authentic Palissy productions shows that they excel in the sharpness of their modelling, in a perfect neatness of manufacture and, above all, in the subdued richness of their general tone of colour. The crude greens, bright purples and yellows are only found in the works of his imitators; whilst in the marbled colours on the backs of the dishes Palissy's work is soft and well fused, in the imitations it is generally dry, even harsh and uneven. Other pieces, such as dishes and plaques, were ornamented by figure subjects treated after the same fashion, generally scriptural scenes or subjects from classical mythology, copied, in many cases, from works in sculpture by contemporary artists.

Another class of designs used by Palissy were plates, tazze and the like, with geometrical patterns moulded in relief and pierced through, forming a sort of open network. Perhaps the most successful, as works of art, were those plates and ewers which Palissy moulded in exact facsimile of the rich and delicate works in pewter for which François Briot and other Swiss metal-workers were so celebrated. These are in very slight relief, executed with cameo-like finish, and are mostly of good design belonging to the school of metal-working developed by the Italian goldsmiths of the 16th century. Palissy's ceramic reproductions of these metal plates were not improved by the colours with which he picked out the designs.

 PALITANA, a native state of India in the Kathiawar agency of the Bombay presidency. Area, 289 sq. m.; pop. (1901), 52,856, showing a decrease of 15% in the decade. The chief is a Gohel Rajput, with the title of Thakur Sahib. Gross revenue, £42,000; tribute jointly to the gaekwar of Baroda and the nawab of Junagarh, £700. The capital of the state is Palitana; pop. 12,800. Above the town to the west rises the hill of Satrunja, sacred to the Jains. On this hill, which is truly a city of temples, all the peculiarities of Jain architecture are found in a marked degree. Some of the temples are as old as the 11th century, and they are spread over the intervening period down to the present. The hill is visited by crowds of pilgrims every year.

 PALK STRAITS, the channel lying between the mainland of India and the island of Ceylon. It is named after Robert Paik, governor of Madras (1755-1763). The straits lie north of the line of reefs called Adam's Bridge, while the Gulf of Manaar lies south of it. The two channels are connected by the Pamban passage.

 PALL, a word the various meanings of which can be traced to the Latin word pallium, that is, a piece of cloth used either as a covering or as a garment. In the last sense the pallium was the, the square or oblong-shaped outer garment of the Greeks. In the sense of a garment the English usage of “pall” is confined to the ecclesiastical vestment (see ) and to the supertunica or dalmatic, the pallium regale or imperial mantle, one of the principal coronation vestments of British sovereigns. The heraldic bearing known as a “pall” takes the form of the Y of the ecclesiastical vestment. The chief applications of the word, in the sense of a covering, are to an altar frontal, to a linen cloth used to veil the chalice in the Catholic service of the Eucharist, and to a heavy black, purple or white covering for a coffin or hearse. The livery companies of London possessed sumptuous state palls for the funerals of their members, of which some are still in existence. The Merchant Taylors' company have two examples of Italian workmanship. The so-called “Walworth pall” of the Fishmongers' company probably dates from the 16th century. The Vintners' pall is of cloth of gold and purple velvet, with a figure of St Martin of Tours, the company's patron saint.

 PALLA,, or , the native name of a red South African antelope of the size of a fallow-deer, characterized by the large black lyrate horns of the bucks, and the presence in both sexes of a pair of glands on the back of the hind feet bearing a tuft of black hairs. On the east side the palla (Aepyceros niclampus) ranges as far north as the southern Sudan; but in Angola it is replaced by a species or race (Ae. petersi) with a black “blaze” down the face. Pallas associate in large herds on open country in the neighbourhood of water. (See .)

 PALLADIAN, the term given in English architecture to one of the phases of the Italian Renaissance, introduced into England in 1620 by Inigo Jones, a great admirer of the works of (q.v.). In 1716, Richard Boyle, 3rd earl of Burlington, who also admired the works of Palladio, copied some of them, the front of old Burlington House being more or less a reproduction of the Palazzo Porto at Vicenza, and the villa at Chiswick a copy of the Villa Capua near Vicenza. It is probably due to Lord Burlington that the title Palladian is the designation for the Italian style as practised in England. In 1862 Sir Gilbert Scott's Gothic design for the new government offices was rejected and Lord Palmerston selected in preference the Palladian style. In France and America, Barozzi Vignole (1507-1573), another Italian architect, holds a similar position as the chief authority on the Italian Renaissance.

 PALLADIO, ANDREA (1518-1580), Italian architect, was born in Vicenza on the 30th of November 1518. The works of Vitruvius and Alberti were studied by him at an early period, and his student life was spent in Rome, where he was taken by