Paneas. See C.esarea Philippi.
Panegyric (Lat. panegyricce orationes) is the name of the orations pronounced upon the graves of the early Christian martyrs. Tiiey were especially a labor of love with the Cimrch fathers, who thus came to compose some of their most praised homilies (q. v.). Among tlic ablest were those by Chrysostom, Basil the Great, the
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Gregories of Nazianzum and of Nj'ssa, Ambrose, Augus- tine, Leo, Chrysologus, and others. These panegyrics contained partly thanksgivings to God for the mercy shown the martyrs, partly encouragement to like action for remaining faithful if the occasion should arise, partly intercessor}' praj'ers for the whole Church, and encour- aging reminders of the approaching resurrection of the dead. See Siegel, Chistiiche Alterthihner, iii, 281.
Panegyricon (iravriyvpiKoVfflattei-iinf) is the title of an Eastern Church collection of sermons by the most approved authors of the Christian Church on different festivals. Almost every province in the East has a separate collection, and the consequence is that the book remains in MS. form. Sometimes on very high festivals the sermon for the day is transcribed into the Menma, an Eastern office-book corresponding to the Breviary (q.v.), or other office-books, as was that of St. Chrysostom into the Pentecosturion (q. v.) for Easter- day. See Neale, Inirod. to the Hist, of' the East. Ch. vol. ii, ch. iii, esp. p. 889.
Paneg^ris, a term used by the ancient Greeks to denote a meeting of an entire nation or people for the purpose of uniting together in worship. It was a relig- ious festival, in which the people engaged in prayer, sacrifices, and processions, besides games, musical con- tests, and other entertainments. At these meetings poets recited their verses, authors read their produc- tions, orators delivered their speeches, and philosophers conducted grave debates in the midst of assembled mul- titudes. At a later period the panegyris seems to have degenerated into a mere market or fair for the sale of all kinds of merchandise, and to have almost entirely lost its religious character.
Panel (through Fr. from Lat. pannus, a piece of cloth) is probably in its English form only a diminu- tive of pane ; it was formerly often used for the lights of windows, but is now almost exclusively conffiied to the sunken compartments of wainscoting, ceilings, etc., and the corresponding features in stone-work, which are so abundantly employed in Gothic architecture as ornaments on walls, ceilings, screens, tombs, etc.
Simple Panels.
Of the Norman style no wooden panels remain ; in stone-work, shallow recesses, to which this term may be
Lincoln Cathedral.
applied, are frequently to be found ; they are sometimes single, but oftener in ranges, and are commonly arched, and not unusually serve as niches to hold statues, etc.
In the Early English style the panellings in stone- work are more varied ; circles, trefoils, quatrefoils, cinquefoils, etc., and the pointed oval called the vesica piscis, are common forms; they are also frequently used in ranges, like shallow arcades, divided by small shafts or mullions, the heads being either plain arches, trefoils, or cinquefoils, and panels similar to these are often used singly ; the backs are sometimes enriched with foliage, diaper-work, or other carvings.
In the Decorated style wood panelling is frequently enriched with tracery, and sometimes with foliage also, or with shields and heraldic devices: stone panelling varies considerably; it is very commonly arched, and filled with tracery like windows, or arranged in squares, circles, etc., and feathered, or filled with tracery and other ornaments in different ways; shields are often introduced, and the backs of the panels are sometimes diapered.
Monument of Aymer de Valence, Westminster.
In the Perpendicular style the walls and vaulted ceilings of buildings are sometimes almost entirely covered with panelling, formed by mullions and tra- cery reseml)ling the windows; and a variety of other panels of different forms, such as circles, squares, qua- trefoils, etc., are profusely used in the subordinate parts, which are enriched with tracery, featherings, foliage, shields, etc., in different ways : in wood panelling the tracery and ornaments are more minute than was usual at an earlier period ; and towards the end of the style these enrichments, instead of being attached to the pan- els, are usually carved upon it, and are sometimes very small and delicate. There is one kind of ornament which was introduced towards the end of the Perpendic- ular style, and prevailed for a considerable time, which deserves to be particularly mentioned ; it consists of a series of straight mouldings worked upon the panel, so arranged and with the ends so formed as to represent the folds of linen; it is usually called the linen pattern. Many churches have wooden ceilings of the Perpendic-
Mounment of John Langstou, Ksq., Caversfleld, Bucks.
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PANGE LINGUA
ular style, and some perhaps of earlier date, which are divided into panels, either by tlie timbers of the roof or by ribs fixed on the boarding; some of these are highly ornamented, and probably most have been enriched by painting. After the expiration of Gothic architecture panelling in great measure ceased to be used in stone- work, but was extensively employed in wainscoting and plaster-work : it was sometimes found in complicated geometrical patterns, and was often very highly en- riched with a variety of ornaments. — I'arker, Glossary of Architecture, s. v.
Panetti, Domesico, an Italian painter, was born in 14G0 at Ferrara. It is not known under whom he stud- ied ; but, according to Baruffiildi, he painted in the dr\', formal style of the time, till his pupil, Benvenuto da Garofalo, returned from Rome after acquiring the new style under Raphael. The instructor now became the pupil of his former disciple, and, although somewhat ad- A'anced in years, Panetti so entirely changed his man- ner that he became one of the ablest artists of his time. He executed many works for the churches of Ferrara which Lanzi says are worthy of competition with the best masters of the 14th century. Among his best works are the Descent from the Cross, in the church of S. Nic- cola; the Visitation of the Virgin to St. Elisabeth, in S. Francesco; and a picture of St. Andrea at the Agostin- iani. There is one of his pictures in the Dresden gal- lery, and Kugler mentions as one of his a beautiful pict- ure of The Entombment in the museum at Berlin. He usually inscribed his name in full upon his pictures, which Lanzi says bear evidence of change in pictoric character without an example. He died in 1530. — Spooner, Biog. Hist, of the Fine Arts, ii, G40.