Page:Encyclopædia Britannica, Ninth Edition, v. 18.djvu/205

 PALPAL 187 and greys, and, more rarely, yellow. 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. These were in many cases copied 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 suc cessful 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 Francois Briot and other Swiss metal-workers were so Hustle Plate by Palissy. celebrated. These are in very slight relief, and are executed with cameo-like finish, mostly of good design, after the style of the Italian silversmiths of the 16th century. Palissy s ceramic repro ductions of these metal plates are not improved by the colours with which he picked out the designs. Some enamelled and painted earthenware statuettes, full of life and expression, have been attributed to Palissy; but it is .doubtful whether he ever worked in the round. On the whole his produc tions cannot be assigned a very high rank as works of art, though they are certainly remarkable as objects of curiosity and marvels of ingenious skill. They have always been highly valued, and in the 17th century attempts were made both at Delft and Lambeth to copy his &quot;rustic&quot; plates with the reliefs of animals and human figures. These imitations are very blunt in modelling, and coarsely painted. They are generally marked on the back in blue with initials and a date showing them to be honest copies, not attempts at forgery, such as have been produced in the present century. The best collections of Palissy ware are those in the museums of the Louvre, the Hotel Cluny, and Sevres ; and in England that at Narford Hall, with a few specimens in the South Kensington and British Museums. As an author Palissy was perhaps even more successful than as a potter. A very high position among French writers is assigned to him by Larnartine (B. Palissy, 8vo, Paris, 1852). He wrote on a great variety of subjects, such as agriculture, natural philosophy, religion, and especially his L Art de tcrre, in which he gives an account of his processes and how he discovered them. A complete edition of his works was published by P. Antoine Cap, L CEuvrcs Completes de B. Palissy, Paris, 1844. See Morley, Life of Palissy, 1855; Marryat, Pottery, 1850, pp. 31 sq. ; Dumcsnil, H. Palissi/, le potter de terre, 1851 ; Taintnrier, Terres JZmaille es de Palissy, 1863; Dele cluze, B. Palissy, 1838; Enjubault, L Art ceramique de B. Palissy, 1858 ; Audiat, Etude stir la vie. . . tie B. Palissy, 1868; Delnnge, Monographic de I oeuvre de B. Palissy, 1862. For Palissy as a Huguenot see Rossijiiio], Les Protestants illustres, No. iv, 1861. (J. H. M.) PALITANA, a &quot; second class &quot; native state of India, in KATHIAWAR (q.v.), Bombay presidency, lying between 21 23 30&quot; and 21 42 30&quot; N. lat., and between 71 31 and 72 30&quot; E. long., with an area of 305 square miles, and a population (1881) of 49,271. The chief pays a tribute jointly to the gaekwar of Baroda and the nawab of Junagarh. The capital of the state is Palitana (popula tion, 7659). Above the town, to the west, rises the sacred hill of Satrunjaya, which is covered with temples dedicated to Adindth, one of the deified saints of the Jains, and is the resort of innumerable pilgrims from all parts of India. PALLADIO, ANDREA (1518-1580), a native of Vicenza in the north of Italy, one of the chief architects of his century. Palladio s early student life was spent in Rome, where he learned the practical part of his profession, and spent several years in making drawings of the buildings of ancient Rome. In 1547 he returned to his native city Vicenza, where he designed a very large number of fine buildings among the chief being the Barbarano, Porti, and Chieregati palaces, as well as many others for various nobles of Vicenza and the neighbourhood. Perhaps his finest work in Vicenza itself was the Palazzo della Ragione, with two stories of open arcades of the Tuscan and Ionic orders. Most of these buildings, however, look better on paper than in reality, as they are mainly built of brick, covered with stucco, now in a very dilapidated condition. This does not affect the merit of their design, as Palladio intended them to have been executed in stone. His fame extended widely throughout Italy, and Pope Paul III. sent for him to Rome to report upon the state of St Peter s. In Venice, too, Palladio built many stately churches and palaces, such as S. Giorgio Maggiore, the Capuchin church, and some large palaces on the Grand Canal. His last great work was the Teatro Olimpico at Vicenza, designed after a classical model ; he died before its completion, and it was finished, though not altogether after the original design, by his pupil and fellow-citizen Scanu zzi. In addition to his town buildings, Palladio designed many country villas in various parts of northern Italy. The villa of Capra is perhaps the finest of these, and has frequently been imitated. Palladio was a great student of classical literature, and was much influenced by Vitruvius s great work on architecture. He also published in 1575 an edition with notes of Caesar s Commentaries. His great literary work was / quattro lilri dell Archi- tettura, first published at Venice in 1570, which has passed into countless editions, and been translated into every European language. The original edition is a small folio, richly illustrated with well-executed full-page woodcuts of plans, elevations, and details of buildings, chiefly either ancient Roman temples or else palaces designed and built by himself. The influence of this book on the architecture of Europe has been enormous. Among many others, an edition with notes was published in England by Inigo Jones, most of whose works, and especially the palace of Whitehall, of which only the banqueting room remains, owed much to Palladio s inspiration. Though other Italian architects in the 16th century worked out and developed the same style, yet, in England at least, the term Palladian has been used to include all the results of this revival of classicalism. Vignola, Scamozzi, and Serlio were among the chief of Palladio s contemporaries. The style adopted and partially invented by Palladio expressed a kind of revolt against the extreme licence both of composi tion and ornament into which the architecture of his time had fallen. Though often noble, dignified, and full of the most harmonious proportions, Palladio s style is dull and lifeless, dominated by scholasticism, and regardless of con siderations of utility and convenience. He was fascinated by the stateliness and beauty of pro portion which are the chief charms of the buildings of ancient Rome, and did not stop to reflect that reproduc tions of these, however great their archaeological accuracy, could not but be lifeless and unsuited to the wants of the 16th century. Palladio s carefully measured drawings of ancient buildings are now of great value, as in many cases the buildings have altogether or in part ceased to exist. The following is a short abstract of the contents of Palladio s great work on architecture : Book I. Materials; construction; the five orders (Tuscan, Doiic, Ionic, Corinthian, and Composite); the proportions of various parts of buildings; construction of stairs. Book II. Plans and elevations of city and country houses designed by Palladio; restoration of Greek&quot; and Roman houses; sites; Palladio s designs for palaces for certain Venetian and other noblemen, in Venice, Vicenza, Verona, and elsewhere.