The pall represents the lamb borne on the Good Shepherd's shoulders, and also humility, zeal, a chain of honor, and pastoral vigilance. Its other names were anajihorion, superhumerale, and — in Theodoret and St. Gregory Nazianzen — ifpa aroXi). Before the 8th cen- tury it was ornamented with two or four red or purple, but now with six black crosses, fastened with gold pins, which superseded an earlier ornament, the Good Shep- herd, or one cross, of the 4th century. It has been sup- posed to be the last relic of an abbreviated toga, reduced to its laticlave by degrees. In the time of Gregory the Great it was made of white linen cloth without seam or needlework, hanging down from the shoulders. It has pendants hanging down behind and before to represent the double burden of the pope.
2. Pall (Gr. tvSvTuv, rpaTri^ocpopov, uTTKwfia) is also the name of the cloth hanging in front of an altar; the modern antependium, like the blue cloth of the golden altar (Numb, iv, 11). In 1630, at Worcester cathedral, the upper and lower fronts, and the pall or middle cov- ering, are mentioned. There is one with the acts of saints of the 15th century at Steeple Aston, Oxford ; be- sides wall hangings, according to Rupert, betokening the future glory of the Church triumphant.
3. In a strictly liturgical sense the word /)«// is ap- plied to the linen cloth covering the table or slab of the altar used in the celebration of the mass. It was or- dered by the councils of Lateran and Rheims, and by pope Boniface III. In the Greek Church, on the four
PALLADINO
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PALLADIUS
corners of the holy table are fixed four pieces of cloth called the Evangelists, because stamped with their effi- gies, sj-mbolizing the Church, which calls the faithful to Christ from every quarter of the world. Over these are laid the linen cloth, called the body cloth, represent- ing the winding-sheet of the Lord in the tomb (John XX, 7) ; a second of finer material, S3-mbolizing the glory of the Son of God seated on the altar as his throne ; and a third the corporal proper. The use of three cloths in the Latin Church is said to have existed in the time of Pius L St. Optatus of Milevi mentions an altar cloth. In the 6th century silk and precious stuffs were used, as St. Gregory of Tours informs us. Constantine gave a pall of cloth of gold to St. Peter's ; and Zachary presented one wrought with the Nativity and studded with pearls. The modern Roman pall is a square piece of linen cloth — sometimes limber, sometimes made stiff by inserting pasteboard — sufficiently large to cover the mouth of the chalice. The upper service is often of silk embroidered, or of cloth of gold. The surface in contact with the chalice must always be of linen. A fair white linen cloth and a carpet of silk or decent stuff" are required in the English Church. The form is the ancient pall, and should be fair, that is damasked or or- namented, and so beautiful (Isa. iv, 2; Ezek. xvi, 17); it is white (Rev. xv, 6 ; xix, 14), like Christ's raiment, exceeding white as snow (Marie ix, 3). It ought to hang slightly over the front of the altar, but at the end nearly to the ground (Walcott, Sacred A rchceology, s. v.).
4. Besides all these there is the funeral pall, an am- ple covering of black velvet or other stuff, which is cast over the coffin while borne to burial. The ends of the pall are held during the funeral procession by the most distinguished among the friends of the deceased, generally selected from among those not connected by blood. See Siegel, Christl. Alterthumer, iii, 48 sq. ; Bingham, Orig. Eccles. ; Walcott, Sacred A ?-ch(eoL s. v. ; Riddle, Christian Antiquities (see Index); Hefele, Con- cilieiif/esch. vol. i, iii, and iv; Elliott, Delineation of Ro- manism (see Index).
Palladino, Filippo, an Italian painter, was born in Florence about 1544. It is not knoAvn by whom he was instructed, but Lanzi says he seems to have studied the Lombard more than the native artists, and to have been acquainted with Baroccio. After acquiring consider- able reputation by his picture of the Decollation of St. John in the church of that saint at Florence, and an altar-piece in S. Jacopo a' Corbolini at Milan, he was obliged to fly from that city on account of some disturb- ance. He sought refuge at Rome, where he was re- ceived by the prince Colonna; but being pursued he went to Sicily, and resided at Mazzarino, on an estate belonging to the Colonna family. There, as well as at Syracuse, Palermo, Catania, and other places, he exe- cuted works for the churches, which Lanzi says are ele- gant!}^ designed and finely colored, though they are not free from mannerism. He died at Mazzarino in 1614. See Spooner, Biog. Hist, of the Fine A rts, ii, 643.
Palladio, Andrea, a famous Italian architect, was born at Viccnza Nov. 30, 1518. After having critically studied the writings of Vitruvius, and the monuments of antiipiity at Rome, he settled in his native city, and first ac(iuired a reputation by his restoration of the Ba- silica of Vicenza. Pope Paul III next invited him to Rome, designing to intrust him with the execution of the works then going on at St. Peter's, but unfortunate- ly I'aul died before Palladio's arrival. He was em- ployed for many years in tlie construction of numerous buildings in Viceuza and the ncigliborhood, in all of which he displayed the most exquisite taste combined with the most ingenious and imaginative ornamenta- tion. His style, known as "the Palladian," is compo- site, and is cliaractorized by great splendor of execution and justness of proportion. It exercised an immense in- fluence on the architecture of Northern Italy. His princi-