youth, finally to have enrolled himself in the military profession. He returned to his native island at the age of twenty, where he became acquainted with a young Creole lady, the Eleonore of his verse, which acquaint- ance his fervent imagination soon converted into the most ardent attachment. Their mutual love inspired his first poetical effusions, which paint with grace and freshness, though perhaps in too vivid colors, the all- absorbing passion of his soul. The affections, however, of the lady were of an evanescent nature ; a marriage of interest, which she contracted at the desire of her parents, induced Parny to return to France. Distance and time were unable to efface his sad reminiscences, and he there continued to translate into the language of poetry the feelings which appear to have taken a lasting possession of his mind. In 1775 was published his first collection of elegiac poems, which have been so much admired by his countrymen that they have earned for him the title of the French Tibullus. On the break- ing out of the French Eevolution he became deprived of the property which he had inherited from his father, and he was compelled to obtain a livelihood by the cul- tivation of his talents. A painful and striking change now appears in his writings, which he had the weakness to adapt to the prevalent taste of a corrupt age. The rival of Tibullus became the feeble copyist of Voltaire, and his Puradis perdu, Galanteries de la Bible, and Guerre des Dieux, by their disgusting profaneness and absence of genuine poetical feeling, will only be remem- bered by posterity as indications of the state of society at a period when " everything evil was rank and Iu.ku- riant." So strong indeed was the feeling excited against Parny even in France on account of the last mentioned of these three poems that his name was repeatedly passed over among the candidates for the honors of the Institute. However, he was admitted into it in 1803, in the place of Devalues. ]\Iost of his other poems are, with few exceptions, inferior to his early productions. He died in Paris Dec. 5, 1814. His works have been published in 5 vols. 18mo by Didot, Paris, 1808, and at Brussels, in 2 vols. 8vo. The best edition, however, is that by ]\L Boissonnade in the Collection de Classiques Fran^ais (Lefevre, Paris, 1827). A volume was pub- lished in 1820, entitled Les Poesies inedites de Parny, with a notice of his life and writings bj' M. Tissot. See English Cyclop, s. v. ; St. Beuve, Causeries du Eundi, XV, 285 sq. ; Tissot, Notice sur la Vie et les Ourrages de M. de Parny (1820).
Parochial Board, in Scotland, is the board in each parish which manages the relief of the poor. In England the same dut}- is performed by overseers, and in some cases by guardians of the poor. See Parish.
Parochial relief is the relief given to paupers by the parish autliorities. See Pauperism.
Parochial Schools. See Parish Schools.
Parolini, Giacomo, an Italian painter, was bom at Ferrara. According to Baruftaldi, who wrote his life, his father died when he was five years old, and his maternal uncle took him under his protection, and, per- ceiving in him a genius for painting, placed him with the cavalier Peruzzini at Turin, with whom he remain- ed until he was eighteen, when he entered the school of Carlo Cignani. On his return to F^errara Paroliui fin- ished some pictures left incomplete at the death of Mau- relio Scannavini, who had been his fellow-student under Cignani. He did this out of regard to his friend, for the relief of his orphaned family. He executed many works for the churches, and a multitude for the collections. Thougli inferior to Cignani in the grandeur of his con- ceptions and the masterly style of his chiaroscuro, he j'et sustained the credit of his school by the elegance of his design and the suavity of his coloring, particularly in his flesh-tints, in which he excelled, and for which rea- son he was fond of introducing into his compositions the naked figure. He was unusually successful i.i the de- sign of liis female figures, children, and cherui. >. Lanzi
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savs his pictures of Bacchanals, festive dances, and Ca- pricci partake much of the playful and elegant style of Albano, and are found in almost every collection at Ferrara. His principal works for the churches are three altar-pieces in the cathedral, and a grand fresco, repre- senting St. Sebastian mounting into glory amid a group of angels, in the church of that saint at Verona. Lanzi pronounces this work a grand production, well executed, which greatly raised his reputation. He died in 1733, and "with him," says Lanzi, "was buried for a season the reputation of the Ferrarese school in Italy." Zani, differing from all others, calls him Giucomo Filippo, and says he was born in 16(57, and died in 1737. — Spooner, Biog. llist. of the Fine Arts, ii, 655.
Parolini, Pio, was an Italian painter of Udine. According to the abbe Titi, Parolini resided chiefly at Kome, and was admitted a member of the Academy of St. Luke in 1678. He painted the ceiling of one of the chapels of St. Carlo at Carso, representing an allegorical subject, which was ingeniously composed and well col- ored.— Spooner, Bioc/. Hist, of the Fine Arts, ii, 065.