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 were those of a moderate reformer, who desired to renovate but not to end the institutions of the old monarchy; and his memoirs set forth in a favourable light the actions of that parlement, the existence of which was soon to be terminated amid the political storms of the close of the year 1789. For some time, and especially during the Reign of Terror (1793–1794), Pasquier remained in obscurity; but this did not save him from arrest in the year 1794. He was thrown into prison shortly before the coup d'etat of Thermidor (July 1794) which overthrew Robespierre. In the reaction in favour of ordinary government which ensued Pasquier regained his liberty and his estates. He did not re-enter the public service until the period of the Empire, when the arch-chancellor Cambaceres used his influence with Napoleon to procure for him the office of “maître des requetes” to the council of state. In 1809 he became baron of the French Empire, and in February 1810 counsellor of state. Napoleon in 1810 made him prefect of police. The chief event which ruffled the course of his life at that time was the strange conspiracy of the republican general Malet (Oct. 1812), who, giving out that Napoleon had perished in Russia, managed to surprise and capture some of the ministers and other authorities at Paris, among them Pasquier. The collapse of this bold attempt enabled him, however, speedily to regain his liberty.

When Napoleon abdicated in April 1814 Pasquier continued to exercise his functions for a few days in order to preserve order, and then resigned the prefecture of police, whereupon Louis XVIII. allotted to him the control of roads and bridges. He took no share in the imperial restoration at the time of the Hundred Days (1815), and after the second entry of Louis XVIII. into Paris he became minister of the interior, but finding it impossible to work with the hot-headed royalists of the Chamber of Deputies (La Chambre introuvahle), he resigned office. Under the more moderate ministers of succeeding years he again held various appointments, but refused to join the reactionary cabinets of the close of the reign of Charles X. After the July Revolution (1830) he became president of the Chamber of Peers—a post which he held through the whole of the reign of Louis PhiHppe (1830–1848). In 1842 he was elected a member of the French Academy, and in the same year was created a duke. After the overthrow of Louis Philippe in February 1848, Pasquier retired from active life and set to work to compile the notes and reminiscences of his long and active career. He died in 1862.

PASQUINADE, a variety of libel and lampoon, of which it is not easy to give an exact definition, separating it from other kinds. It should, perhaps, more especially deal with public men and public things. The distinction, however, has been rarely observed in practice, and the chief interest in the word is its curious and rather legendary origin. According to the earliest version, given by Mazocchi in 1509, Pasquino was a schoolmaster (others say a cobbler), who had a biting tongue, and lived in the 15th century at Rome. His name, at the end of that century or the beginning of the next, was transferred to a statue which had been dug up in 1501 in a mutilated condition (some say near his shop) and was set up at the corner of the Piazza Navona, opposite the palace of Cardinal Caraffa. To this statue it became the custom to affix squibs on the papal government and on prominent persons. At the beginning of the 16th century Pasquin had a partner provided for him in the shape of another statue found in the Campus Martius, said to represent a river god, and dubbed Marforio, a foro Martis. The regulation form of the pasquinade then became one of dialogue, or rather question and answer, in which Marforio usually addressed leading inquiries to his friend. The proceeding soon attained a certain European notoriety, and a printed collection of the squibs due to it (they were long written in Latin verse, with an occasional excursion into Greek) appeared in 1509. In the first of Pantagruel (1532 or thereabouts) Rabelais introduces books by Pasquillus and Marphurius in the catalogue of the library of St Victor, and later he quotes some utterances of Pasquin’s in his letters to the bishop of Maillezais. These, by the way, show that Pasquin was by no means always satirical, but dealt in grave advice and comment. The original Latin pasquinades were collected in 1544, as Pasquillorum tomi duo, edited by Caelius Secundus Curio. The vogue of these lampoons now became general, and rose to its height during the pontificate of Sixtus V. (1585–1590). These utterances were not only called pasquinades (pasquinate) but simply pasquils (pasquillus, pasquillo, pasquille), and this form was sometimes used for the mythical personage himself. It was used in English for purposes of satire by Sir Thomas Elyot, in his Pasquins the Plain (1540) and by the anonymous author of Pasquin in a Trance (1566); but it was first made popular in England by Thomas Nash, who in 1589 began to sign his violent controversial pamphlets with the pseudonym of Pasquil of England. It continues to occur through the course of the Marprelate controversy as the title of the enemy of the Puritans. These English lampoons were in prose. The French pasquils (examples of which may be found in Fournier’s Variétés historiques et littéraires) were more usually in verse. In Italy itself Pasquin is said not to have condescended to the vernacular till the 18th century. Contemporary comic periodicals, especially in Italy, still occasionally use the Marforio-Pasquino dialogue form. But this survival is purely artificial and literary, and pasquinade has, as noted above, ceased to have any precise meaning.

PASQUINI, BERNARDO (1637–1710), Italian musical composer, was born at Massa in Val di Nievole (Tuscany) on the 8th of December 1637. He was a pupil of Marcantonio Cesti and Loreto Vittori. He came to Rome while still young and entered the service of Prince Borghese; later he became organist of St Maria Maggiore. He enjoyed the protection of Queen Christina of Sweden, in whose honour an opera of his, Dov’ è amore è pieta, was produced in 1679. During Alessandro Scarlatti’s second sojourn in Rome (1703–1708), Pasquini and Corelli were frequently associated with him in musical performances, especially in connexion with the Arcadian Academy, of which all three were members. Pasquini died at Rome on the 22nd of November 1710, and was buried in the church of St Lorenzo in Lucina. He deserves remembrance as a vigorous composer for the harpsichord; and an interesting account of his music for this instrument will be found in J. S. Shedlock’s The Pianoforte Sonata.

PASSACAGLIA, the name of an old Spanish dance, supposed to be derived from pasar, to walk, and callc, street, the tune being played by wandering musicians in the streets. It was a slow and rather solemn dance of one or two dancers. The dance tune resembled the “chaconne,” and was, like it, constructed on a ground-bass. Brahms’s Symphony in E Minor, No. 4, ends with an elaborate passacaglia.

PASSAGLIA, CARLO (1812–1887), Italian divine, was born at Lucca on the 2nd of May 1812. Passaglia was soon destined for the priesthood, and was placed under the care of the Jesuits at the age of fifteen. He became successively doctor in mathematics, philosophy and theology in the university of Rome. In 1844 he was made professor in the CoUegio Romano, the well known Jesuit college in Rome. In 1845 he took the vows as a member of the Jesuit order. In 1848, during the expulsion of the Jesuits from Rome which followed on the revolutionary troubles in the Italian peninsula, he paid a brief visit to England. On his return to Italy he founded, with the assistance of Father Curci and Luigi Taparelli d’Azeglio, the celebrated organ of the Jesuit order entitled the Civiltá Cattolica. In 1854 came the decision of the Roman Church on the long-debated question of the Immaculate Conception of the Virgin. Into the agitation for the promulgation of this dogma Passaglia threw himself with great eagerness, and by so doing recommended himself strongly to Pope Pius IX. But his favour with the pope was of short duration. In 1859, when the war between Austria and France (the first step towards the unification of Italy) broke out, Passaglia espoused the popular side. He took refuge at Turin, and under the influence of Cavour he wrote an Epistola ad