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Towards the north of the city is the mouth of the river Piacenza, Trebbia, famous for the victory which Hannibal ob- Piano tained over the Romans.

Phytolacca PHYTOLACCA, POKEWEED, or American Nightshade, a genus of plant belonging to the decandria Piacenza. class. See BOTANY Index. PHYTOLOGY, a discourse concerning the growth, kind, and virtues of plants. See BOTANY, and MATERIA MEDICA.

PHYTON, a general of the people of Rhegium against Dionysius, the tyrant of Sicily. He was taken by the enemy, and tortured, and his son was thrown into the sea. See SYRACUSE.

PIA MATER, a thin membrane which covers the brain, and is in immediate contact with it. See ANATOMY Index.

PIABA, in Ichthyology, is a small fresh water fish caught in all the rivers and brooks in the Brasils, and in some other parts in America. It is about the size of the common minow.

PIABUCU, in Ichthyology, is an American fish, eaten in many places by the natives. It is said to be se ravenous, and greedy of blood, that if a person go into the water with a wound in any part of his body, the piabucu will make up to it to suck the blood. It seldom exceeds four inches in length.

PIACENZA is a city of Italy, in the duchy of Parma, in E. Long. 1c. 25. N. Lat. 45. It is a large handsome city, whose name is derived by some from its pleasant situation, in a fruitful plain, on the Via Æmilia, about half a mile from the Po. It is the see of a bishop suffragan of Bologna, and has a university, but of no great fame. It is defended by a wall and a strong citadel, and is reckoned about three miles in circumference, so that it is somewhat bigger than Parma. The houses are low, but well built; the great street, called the Stradone, is in a direct line and of equal breadth, with a foot-way fenced with posts on each side like London, and is about 3000 feet long. The houses are generally built of brick, and some of them are prettily painted. The cathedral is an old structure, but well adorned within. The duke of Parma, who is sovereign of Piacenza, has a palace in the city built by Vignola. There are many excellent paintings in this place. There are two- chapels painted, one with the history of St Catharine, and the other with a picture of Christ, as also the altar of the church of St Augustine, all by Pordenone. In the same church there is a fine picture of the blessed virgin, St Peter, and St Paul, by Paolo Veronese. At the Capuchins there is a Francis by Guercino. There is a fountain said to have been erected here by Julius Cæsar, and the equestrian statues of the famous general Alexander I. duke of Parma and Placentia, and of his son Ranuccio, both in the great square. In the palace of Scotti, there are a great many fine pictures by Lanfranco, who had been a page in their family, and among the rest the rape of Helen, the taking of Troy, the blessed virgin, and St Francis. The trade of this city consists chiefly in their cheese, as at Parma, these cities being surrounded with the richest pasture grounds in Italy; though the greatest part of what is called Parmesan cheese is made in the duchy of Milan, and particularly at Lodi. See Parmesan CHEESE-Without the walls, which are washed by the rivers Trebbia and Po, there is a large seminary or college, magnificently erected by Cardinal Alberoni, a native of this city, but considerably hurt by the modern Goths in the last war. VOL. XVI. Part II.

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PIANO FORTE, or FORTE PIANO, is a musical instrument, which is too well known to require any detailed description. We shall here, however, notice some of its peculiarities. The voice, it has been observed, is the original musical instrument; of this all other instruments are to be considered but as imitations; and it is remarkable with what promptitude, as well as accuracy, the voice of man obeys the impulse of the heart. Even a coarse ear is hurt by an error in its tone, amounting to what is called a comma; and a limited voice can execute melodies which include 12 notes, or an octave and a fifth. Between these extremes the motion of the glottis does not amount to one twelfth of an inch, which must therefore be divided by the most ordinary singer into more than 1000 parts. All this too, without any seeming effort of thought, is done in an instant, and repeated with rapidity, without mistaking one of the divisions.

The great object in the construction of musical instruments is, to bring them as near as possible to express the sounds produced by the human voice: the violin, however, and a few of the simple wind instruments, are the only ones found fully to express those momentary gradations of sentiment, and those tender and delicate emotions with which the heart is agitated. For the purpose of removing this defect of harmonie instruments, the swell was added to the organ. Similar improvements were also attempted on other instruments of the same kind, and the same way. The harpsichord was shut up like the swell organ, and was opened by means of pedals, when the performer wished to enforce the sound. But as this was found not to succeed well, other methods were tried, and in particular unisons were added to each note, which were brought on, either by means of pedals, or by another set of keys; and in this way the power of the harpsichord was greatly improved. Among all the keyed instruments, the English piano forte seems to merit the preference, on account of the superior force of tone, adequate sweetness, and great variety of voice, of which, by the ingenuity of British artists, it has now become susceptible. It has been called a national instrument, because it is said to be an English contrivance, the invention of the celebrated poet, Mason. Mr Mason had seen some attempts that were made by the Germans to make keyed dulcimers, which were in some measure susceptible of the forte and piano; but as they were all constructed on one principle, and required a particular touch of the finger, which was of difficult acquisition, and which spoiled it for harpsichord practice; as they were also deficient in delicacy and justness; and as the performer was by no means certain of producing the very strength of sound intended, Mr Mason removed all those imperfections, by detaching the mallet entirely from the key, and giving them only a momentary connection. It is by this improvement that the English piano forte is distinguished from all others. Mr Mason's general principle may be fully understood by the following description. In the figure on Plate CCCCXVIII. the parts are represented in their state of inaction. The key ABK turns, as usual, on the round edge of the bar B, and a pin b, driven into the bar, keeps it in its place. 3 X The

Forte.

Piano Forte.

The dot F represents a section of the string. ED is the mallet, having a hinge of vellum, by which it is attached to the upper surface of the bar E. At the other end is the head D, of wood, covered with some folds of prepared leather. The mallet lies in the position represented in the figure, its lower end resting on a cushionbar K, which lies horizontally under the whole row of mallets. The key AR has a pin C, tipt with a bit of the softest cork or buckskin. This reaches to within

th of an inch of the shank of the mallet, but must not touch it. The distance E e is about d or 4th of the length of the shank. When the end A of the key is pressed down on the stuffing (two or three thicknesses of the most elastic woollen list) it raises the mallet, by means of the pin C, to the horizontal position Ed, withinth or th of an inch of the wire F; but it cannot be so much pressed down as to make the mallet touch the wire. At the same time that the key raises the mallet by means of the pin C, it also lifts off the damper G (a bit of spunge) from the wire. This damper is fixed on the end of a little wooden pin G g, connected with the lever g H, which has a vellum hinge at H. This motion of the damper is caused by the pin I, which is fixed into the key near to R. These pieces are so adjusted, that the first touch of the key lifts the damper, and, immediately after, the pin C acts on the shank of the mallet. As it acts so near to its centre of motion, it causes the head D to move briskly through a considerable arch D d. Being made extremely moveable, and very light, it is thus tossed beyond the horizontal position Ed, and it strikes the wire F, which is now at liberty to vibrate up and down, by the previous removal of the damper G. Having made its stroke, the mallet falls down again, and rests on the soft substance on the pin C. It is of essential importance that this mallet be extremely light. Were it heavy, it would have so much force, after rebounding from the wire, that it would rebound from the pin C, and again strike the wire. For it will be recollected, that the key is, at this time, down, and the pin C raised as high as possible, so that there is very little room for this rebound. Lessening the momentum of the mallet by making it very light, making the cushion at the top of the pin C very soft, and great precision in the shape and figure of all the parts, are the only securities against the disagreeable rattling which these rebounds would occasion. In respect to the solidity and precision of workmanship, the British instruments are unrivalled, and vast numbers of them have been sent to all parts of the continent.

As the blow of so light a mallet cannot bring much sound from a wire, it has always been found necessary to have two strings for each note. Another circumstance contributes to enfeeble the sound. The mechanism necessary for producing it makes it almost impossible to give any considerable extent to the belly or sound board of the instrument. There is seldom any more of it than what occupies the space between the tuning pins and the bridge. This is the more to be regretted, because the basses are commonly covered strings, that they may be of a moderate length. The bass notes are also of brass, which has a considerably lower tone than a steel wire of the same diameter and tension. Yet even this substitution for steel in the brass strings is not enough. The highest of them are much too slack, and the lowest ones must be loaded, to compensate for want

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of length. This greatly diminishes the fulness, and still Fians more the mellowness and distinctness of the tone, and Forte, frequently makes the very lowest notes hardly appreci- Fiastu able. This inequality of tone about the middle of the instrument is somewhat diminished by constructing the instrument with two bridges; one for the steel, and the other for the brass wires. But still the bass notes are very much inferior to the treble.

PIASTUS, a native of Poland, was originally wheelwright, and the son of Cossisco, a citizen of Cruswitz. He flourished in the year 830, when on the extinction of the family of Popiel great disputes arose about his successor, and Cracow was afflicted with a severe famine. During this extremity, when the people

Mod. Univ.

were dropping down in the streets, two angels in human History, forms, as the story is told, took up their residence with VOL. XXX. Piastus, who was celebrated for his piety and extensive p. 336, & charity. He had nothing left but a small cask of the common liquor of the country, and this he presented to his new guests, who, charmed with his hospitality, promised him the crown of Poland. The faith of Piastus was equal to his other virtues: he implicitly believed the word of his guests, and piously followed their directions in every particular. He was ordered to distribute the liquor out of his little cask to the multitude: he did so, and found that it was inexhaustible. The people were astonished; all cried out, “A miracle!" and the electors determined to choose a person in whose favour Heaven had so visibly declared: Piastus was accordingly taken from his shop, and raised to the ducal dignity.

The

Such is the relation of the canon of Cracow, which differs in many particulars from the account given by Guagnini, and several other historians. According to them, Piastus had prepared a small collation, to entertain some friends who were assembled at the birth of a child. Two pilgrims, Paul and John, afterwards murdered at Rome, came about this time to Cracow. They begged charity at the door of the election-hall, and were rudely repulsed; upon which they stumbled on the house of Piastus, and were kindly received. miracle we have mentioned was wrought by them; and the two pilgrims, and not angels, were the instruments of the elevation of the hospitable wheelwright. Though we pay but little regard to the marvellous means by which Piastus ascended the ducal throne of Poland, it would be presumptuous entirely to omit a fact attested by all the writers upon this subject it was proper, therefore, to take notice of it, and we leave the rest to the reader's judgment,

Being now raised to the supreme dignity, he was not intoxicated with his prosperity. His natural charity, benevolence, and sweetness of disposition, remained: nothing was altered but his power of doing good. He was truly called the father of his people the injured never returned unredressed, nor merit unrewarded. Piastus wiped the tear from the eyes of the widow; and was himself the guardian of the orphan, and the general patron of the poor and distressed. His excellent inclinations served him in the room of great abi lities; and the happiness that his people enjoyed made them forget that their prince was not born a statesman and a warrior. Several intestine commotions arose during his administration, all which be quelled by the mildness and clemency of his nature his nobility were

asbamed

Pica.

Piastus ashamed of rebelling against a sovereign who devoted #1 his whole life to render his people happy. He removed the court from Cruswitz, a city which he detested, because it was the scene of Popiel's crimes and tragical end, and fixed his residence at Gnesna, where he died beloved, esteemed, and even adored by his subjects.

8vo edit.

p. 422.

note.

It is in memory of this excellent prince, that all the matives of Poland, who have been since promoted to the ducal or regal dignity, were called Piastes, in contradistinction to the foreigners.

Piastus associated his son Ziemovitus with him in the government before his death; a circumstance of much benefit to the people.

PIAZZA, in building, popularly called piache, an Italian name for a portico, or covered walk, supported by arches.

The word literally signifies a broad open place or square; whence it also became applied to the walks or porticoes around them.

Essa by PIBROCH, says Dr Beattie, is a species of tune Dr Beattie, peculiar, I think, to the Highlands and Western isles of Scotland. It is performed on a bagpipe, and differs totally from all other music. Its rythm is so irregular, and its notes, especially in the quick movement, so mixed and huddled together, that a stranger finds it almost impossible to reconcile his ear to it, so as to perceive its modulation. Some of these pibrochs, being intended to represent a battle, begin with a grave motion resembling a march, then gradually quicken into the onset; run off with noisy confusion and turbulent rapidity, to imitate the conflict and pursuit; then swell into a few flourishes of triumphant joy; and perhaps close with the wild and slow wailings of a funeral procession.

related as would be very difficult to credit, were we not assured by some modern instances, of the perfection to which that faculty may be carried. At the age of fourteen he was sent by his mother's direction, who was desirous that he should assume the clerical functions, to Bologna, at that time the principal resort of those who studied the pontifical law. After spending two years there, he became disgusted with this pursuit, although such was his industry, even at that early age, that he compiled an epitome of the pontifical epistles or decretals. His disposition, however, strongly led him to the pursuit of philosophy, with an eager curiosity to penetrate the secrets of nature and science: with this view be travelled over Italy and France, visited the most celebrated schools of each, and studied under the most famous teachers of both countries. After seven years spent in this course of instruction, and at the age of twentythree, he went to Rome, and, after the fashion of the scholars of that time, brought himself into notice by publicly proposing literary questions for disputation. This sort of challenge was very common in that age, and, when printing was scarcely practised, and the name of a man of learning less rapidly extended than it is now, was almost the only method that a person of superior attainments had to make himself known. Mirandola proposed 900 questions, or as they were called conclusiones, in dialectics, mathematics, natural philosophy, and divinity, drawn not only from the stores of the Latin and Greek, but from the mysteries of the Hebrews and the arcana of the Chaldeans and Arabians. In addition to the endless topics of metaphysics, theology, and the ordinary subjects of disputation, into which he entered very profoundly, the conclusiones involved the ancient and obscure philosophy of Pythagoras, Trismegistus, and Orpheus; the doctrines of the Cabala, or mystic interpretation of the sacred writings, according to the Hebrews, taught by Origen and Hilarius; the extent, uses, and learning of natural magic, which was vindicated from the vulgar reproach of impiety and necromancy. Seventy-two new physical and metaphysical dogmata of the author's invention were likewise proposed and defended. These propositions, according to the ostentatious practice on these occasions, were fixed in the most public places in Rome, and the proposer engaged to defray the expences of any one who should come from a distance for the purpose of disputing with him. This challenge did not bring forward any disputants, but exposed Mirandola to much envy and jealousy, particularly from the professors of science at Rome, who felt the reflection that would be cast upon their credit by their declining a competition which they durst not encounter. Unable to injure his PICA, or Picus, John, prince of Mirandola and Con- fame as a scholar, they made a much more dangerous atcordia, was born in the year 1463, under the pontificate tack upon the soundness of his faith; thirteen questions of Pius II. He was the youngest son of John Francis of were selected, which were charged with the terrible Mirandola, and Julia, a lady of the noble family of Boiard. suspicion of heresy and contempt of the ordinances of Some of the credulous historians of the time have rela- the church; a suspicion very readily listened to by the ted, that at his birth a globe of fire was seen to rest upon church when directed against great learning, which the his mother's bed, portending, say they, by its shape the increasing influence of philosophy and letters began to perfection of his genius, and by its element, the celestial make her watch with extreme jealousy. Mirandola return of his mind. As soon as he was capable of receiv-pelled this attack by publishing his Apologia, or Deing instruction, he was placed by his mother's care under the most able masters, and very early distinguish ed himself by the vigour of his application, and the strength of his memory; of which such prodigies are

PICA. See CORVUS, ORNITHOLOGY Index.
PICA Marina. See HEMATOPUS, and ALCA, ORNI-
THOLOGY Index.

PICA, in Medicine, a depravation of appetite, which
makes the patient long for what is unfit for food, or
incapable of nourishing; as chalk, ashes, coals, plaster-
lime, &c. See MEDICINE Index.

PICA, or Pye, had formerly the same sense as ordinal, meaning a table or directory, pointing out the order in which the devotional services appointed for different occasions were to be performed. According ly we are told it is derived from , a contraction of Twaž, a table; and by others from litera picata, a great black letter at the beginning of some new order in the prayer. The term was used in a similar sense by officers of civil courts, who called their kalendars or alphabetical catalogues directing to the names and things contained in the rolls and records of their courts the pyes.

fence of the accused Propositions; which if he did not
effectually clear away the suspicions he had incurred,
tended to confirm his enemies in their dread of his learn-
ing and powers; and it must be owned that, overlook-
3 X 2

ing

Pica.

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