Page:The New International Encyclopædia 1st ed. v. 15.djvu/485

PASSPORT. exemption from the jurisdiction of the country in which lie may be. It is nothing more than a request to foreign governments to admit the bearer to the enjoyment of the rights and privi- leges to which he as citizen of the country issuing the passport may be entitled by treaty or convention.

In some European States no subject is allowed to depart tlierefrora without first securing a pass- port from his government authorizing him to leave the country. Where this rule prevails the passport is required to be countersigned by the minister or consul of the country which the bearer visits. In time of war passports or safe conducts arc frequently granted by military com- manders to allow persons to pass through the lines or to insure the safety of officers while in the performance of some duty which takes them beyond the lines. They may'also be granted for the passage of goods as well as for individuals. Diplomatic representatives upon departing from a State in which they have been residing usiially demand and receive passports to enable them to withdraw in safety.

PASSY, pa'se'. A western suburb of Paris, included in the city since 18fi0.

PASTA, pii'sta (nee Xegri), Giuditta (Ju- dith) ( 170S-18G5). An Italian singer, and one of the most distinguishcdopera sopranos of modej-n times. She was born near Milan, and received her musical education partly at Como, under the chapelmaster of the cathedral there, and partly in the conservatory at Milan. After 1811 she appeared at various theatres of the second rank in Northern Italy. Her first great triumph was achieved at Verona in 1821. The year fol- lowing she was engaged at the Paris Italian Opera, where her singing excited great admira- tion. From 1825 to 1830 was the period of her greatest triumphs, which were won principally in London and Paris. Vienna, where she ac- cepted an engagement in 1832, witnessed the last. Some time afterwards she withdrew from the stage and purchased a villa on the banks of Lake Como, where, and at Milan, she resided. She had a magnificent voice, which easily passed from clear, shrill soprano notes to the gravest contralto tones, besides which she had great dra- matic energy, and a stateliness of manner that suited lofty and ini[X)sing characters. Her prin- cipal roles were in Medea, Desdemonn, Kemi- ramide. La Sonnambiila, and Norma (these operas were written for her by Bellini), and Giulia in Romeo e Giulia. Donizetti and Pacini also wrote operas for her.

PASTEL (Fr. paslel. from Lat. pastillus, little roll, lozenge, diminutive of panis, loaf, bread). Colored crayon. (SeeCRATON.) Also, by abbreviation, the process of drawing in color by means of such crayon. The substance is gen- erally sold in small cylinders. The paper used is not very smooth. The drawing is carried on exactly as with black and white drawing, with this distinction, that a color etl'ect may be, and generally is, sought, depth of shade and grada- tions of light and dark being replaced by grada- tions in colors. One of the special difficulties with the pastel process is the perishable nature of the result. A sharp jar or blow will dislodge some of the particles of color, and a touch of a soft brush or cloth will make a great scar in the colored surface. It is possible to remedy this in part by the use of a fixative: but a pastel drawing remains the most easily injured of all works of art. To guard against tliis, 'it is almost universally the custom to cover such a drawing with glass; and, moreover, the drawing must not touch the glass. Properly protected, a pastel may remain beautiful for a century and a hall, as is seen in the very admirable drSiwings in the Louvre by French masters of the eighteenth cen- tury. The special beauty of a pastel drawing is in its soft, velvety surface, giving a bloom and depth to the color harmonies hardly attainable elsewhere; but this beauty is at once marnd when it is seen through the glass covering. It will be best, then, to risk the chance of injury to pastels of no special value, keeping them in closed portfolios; and, for those of great im- portance, to have the glass arranged to open readily.

On th^ whole, pastel seems more fitted for the sketching of an artist who cares for color than for any other purpose. It gives a great facilitv to the artist who wishes to work rapidly, and who does not wish to wait while liquid washes or semi-liquid touches are drying.

There are crayon drawings in two or three col- ors which date from the sixteenth century, but pastel in the usual sense hardly appears before the second quarter of the eighteenth century. Rosalba Carriera of Venice (1075-1757), the most original of all woman artists, seems to have brought pastel drawing to its full charm during her stay in France, about 1720. The chief of all pastel-draughtsmen is generally admitted to be Maurice Quentin de la Tour (iii the eight- eenth century), whose works are chielly in the Louvre and in the Museum of Saint (Jueiitin ( Aisne) . Jean Baptiste Greuze, in the eighteenth century, and Eug&ne Delacroix, in the nine- teenth did admirable work in this way, and the Swede Lundberg, who died about 1780, is also famous, though his work is not much known out of Sweden.

The art underwent a sort of revival during the last quarter of the nineteenth century. In Brussels, Emile Wauters, a portraitist of real merit, and in France H. G. E. Degas, the impres- sionist, have used pastel with surprising original- ity. Other noted pastel artists of the present day are Pierre Carrier-Belleuse, Rene Gilbert, Emile Rene Menard. In the LTnited States this medium has been used with success by William M. Chase, J. Appleton Brown, and especially by J. Wells Champney. Consult: Robert, Le Pastel (Paris, 1890); Jiinnicke, Kime Anieitunfi zur Tempera- und Pastellteehnik (Stuttgart, 1803): Retscher, Anlcitung zur Pastellmalerei (4th ed., Dresden, 1900).

PASTEUR, pas'ter', Louis (1822-05). A celebrated French scientist, born at Dole. He early devoted himself to the study of chemistry and took his doctor's degree in 18-17. In 1848 he became professor of physical science at Dijon, and in the following year accepted the professor- ship of chemistry at Strassburg. In 1854 he founded the faculty of sciences at Lille, of which he became dean. Here he remained until 1857, when he went to Paris as scientific director of the Ecole Normale Superieure and was elected a member of the Institute. In 1863 he became professor of geology-, physics, and chemistry at the School of Fine Arts, and from 1867 to 1875 was