OpenLLM-France/wikimedia huggingface dataset:
# Dictionary of National Biography, 1885-1900/Parr, Richard (1592?-1644)

​PARR or PARRE, RICHARD (1592?–1644), bishop of Sodor and Man, was born about 1592 in Lancashire, probably at Wood, in the parish of Eccleston, near Chorley, a seat of the Parr family. On 2 Sept. 1609 he entered Brasenose College, Oxford, being then aged 17. He commenced B.A. 17 June 1613, was elected fellow in 1614, and proceeded M.A. 19 April 1616, B.D. 10 June 1624, D.D. 1 July 1634. In 1616 he took orders, and was a frequent preacher, as well as a diligent tutor. On 25 Aug. 1626 he was instituted rector of Ladbroke, Warwickshire. In 1629 he resigned that living, and was instituted (6 Feb.) to the rich rectory of Eccleston. On 10 June 1635 he was consecrated bishop of Sodor and Man, retaining Eccleston in commendam. He wintered in England. Wood says he was very industrious in the ministry, ‘especially after he was bishop.’ In 1641 he rebuilt St. Catherine's, Ramsey. His chaplain and curate at Eccleston was Edward Gee (1613–1660) [q. v.] In October 1643 the living was sequestered and given to Gee. Parr remained in his diocese, where he was not disturbed, as the Isle of Man was held by the royalists till 1651. He died at Bishop's Court, Peel, on 23 March 1644, and was buried on 26 March in the grave of Bishop John Phillips [q. v.] in St. Germans Cathedral, Peel. The see was not filled up till 1661, by the appointment of Samuel Rutter (d. 30 May 1663). His son, Robert Parr, was rector of Ballaugh (1640–70). The bishop spelled his name originally Parre, and afterwards Parr. He published a few sermons.
A. G.
# Dictionary of National Biography, 1885-1900/Parr, Richard (1617-1691)

​PARR, RICHARD, D.D. (1617–1691), divine, was born in 1617 at Fermoy, co. Cork, of which parish his father, Richard Parr, was perpetual curate. At his birth his mother was fifty-five years of age. Having learned Latin at a priest's school, he entered Exeter College, Oxford, as a servitor in 1635. He commenced B.A. on 13 June 1639, and, being a good preacher, was chosen chaplain-fellow (1641), at the instance of John Prideaux [q. v.], then rector. He proceeded M.A. on 23 April 1642. In 1643 Archbishop Ussher found a refuge in Exeter College; he made Parr his chaplain, and took him to Cardiff, Glamorganshire, at the beginning of the following year. In 1646 he obtained the vicarage of Reigate, Surrey; it is not certain whether he took the ‘league and covenant.’ He resigned his fellowship in 1649. He retained his connection with Ussher, who died (1656) in the Countess of Peterborough's house at Reigate. In 1653 he obtained the vicarage of Camberwell, Surrey. At the Restoration he was created D.D. (30 Oct. 1660). He declined the deanery of Armagh and an Irish bishopric, but accepted a canonry at Armagh. He appears to have held with Camberwell the rectory of Bermondsey, Surrey, from about 1676 to 1682. At Camberwell he was very popular; he ‘broke two conventicles’ by ‘outvying the presbyterians and independents in his extemporarian preaching.’ He was ‘a lover of peace and hospitality.’ He died at Camberwell on 2 Nov. 1691, and was buried in his churchyard, where a monument was erected to his memory. He married a rich widow, sister of Roger James, the patron of Reigate; she died before him.
He published, besides three single sermons (1658–72), including a funeral sermon (1672) for Robert Bretton, D.D.: 1. ‘Christian Reformation,’ &c., 1660, 8vo (addressed to his ‘dear kindred and countrymen of the county of Cork,’ and the parishioners of Reigate and Camberwell). 2. ‘The Life of … James Usher … with a Collection of … Letters,’ &c., 1686, fol. (Thomas Marshall, D.D. [q. v.], had a considerable hand in this life, but died before its publication. Evelyn says the impression was seized on account of a letter of Bramhall's reflecting on ‘popish practices.’)
A. G.
# Dictionary of National Biography, 1885-1900/Parr, Remigius

​PARR, REMIGIUS (fl. 1747), engraver, is stated to have been born at Rochester in Kent in 1723, and to have studied engraving in London and on the continent. He never, however, attained any artistic skill as an engraver, though he has left some engravings of historical and antiquarian importance. He was largely employed by John Bowles, the publisher, at the Black Horse in Cornhill, and Thomas Bowles, in St. Paul's Churchyard. For the latter he executed some plates from the paintings at Vauxhall by Francis Hayman [q. v.], Peter Monamy [q. v.], and others; and also a large plate from a drawing by J. Freeman of the ‘Trial of Simon Fraser, Lord Lovat, in Westminster Hall,’ published by Bowles on 30 June 1747. This engraving is reproduced on a smaller scale in ‘Lives of Twelve Bad Men,’ ed. Seccombe, 1894. Parr also engraved a few portraits and book illustrations, some plates of horses after Seymour, Wootton, and Tillemans, and some humorous plates of little importance.
Nathaniel Parr (fl. 1730–1760), engraver, appears to have been either father or elder brother of the above. He engraved in a precisely similar manner, and was also employed by Bowles. He engraved several portraits and other plates for books, and several architectural works, including views of buildings in London and some of buildings in Florence, after Giuseppe Zocchi. He also engraved a set of twelve marine subjects after P. Monamy, and some of the paintings in Vauxhall Gardens. It is sometimes difficult to distinguish between the works of Remigius and Nathaniel Parr.
L. C.
# Dictionary of National Biography, 1885-1900/Patti, Carlotta

​PATTI, CARLOTTA (1835–1889), vocalist, born at Florence on 30 Oct. 1835, was the daughter of a singer named Salvator Patti, a native of Catania (d. 1869), and of his wife, Catherine Chiesa, a Roman, whose first husband was Signor Barilli. Eight years senior to her more famous sister, Mme. Adelina Patti (b. 1843), Carlotta, after being grounded in the rudiments of music by her mother, began its serious study by learning the pianoforte under Heinrich Herz (1806–1888). But finding herself the possessor of a voice of more than ordinary capacity, she renounced the pianoforte in order to devote herself entirely to singing.
After the removal of her family to the United States she made her first appearance in 1861 as a concert singer at the Academy of Music in New York, with pronounced success; and in the following year she joined, with her brother Carlo (1842–1873), a violinist, Max Strakosch's concert party, then touring in North America. Coming next to England, Carlotta made her début in this country on 16 April 1863 at a concert at Covent Garden Theatre, when she attracted considerable attention; and on 9 May she created almost a furore at the Crystal Palace. After taking part in some fifty concerts, as well as singing before the court, Carlotta Patti spent a large part of the next six years in various continental tours, singing at Vienna in 1865, and again in 1867 at the Carl Theatre. During one of these tours a wealthy Wallachian noble amateur once sent a coach-and-four with four men to meet the diva; and when she complimented him on the good taste of his equipage, he replied, ‘If it please you, madame, pray keep it, coach and men, in remembrance of the occasion.’ The offer was declined.
In 1869 Mlle. Patti returned to America, and became the leading attraction of Strakosch's company, gaining especial praise for her singing of the part of the Queen of the Night in ‘Die Zauberflöte.’ In the spring of 1870 she was in South America, where, at Buenos Ayres, she made almost her only appearance on the stage, singing in Rossini's ‘Barber’ and in ‘Don Pasquale.’ A concert given later in the same country for the benefit of the sufferers in the Franco-Prussian war realised a profit of sixty thousand francs. In 1872 she was singing with Mario in the United States, but from time to time she reappeared in Europe, and sang at the London Philharmonic and other concerts.
On 3 Sept. 1879 Mlle. Patti married M. Ernest de Munck, solo violoncellist to the Grand Duke of Saxe-Weimar; and from that date to her death, which took place from cancer, at her house in the Rue Pierre-Charron at Paris, on 27 June 1889, she retired from public life, though much of her time was devoted to teaching.
Mlle. Patti possessed a voice of quite abnormal compass, which is said to have extended to G in altissimo, but, though of great brilliancy, it was deficient in sympathy. Her style and execution were excellent and finished, and it was almost entirely due to lameness, the result of an accident, that she never attempted to take a more prominent place among operatic singers.
R. H. L.
# Dictionary of National Biography, 1885-1900/Pattison, Granville Sharp

​PATTISON, GRANVILLE SHARP (1791–1851), anatomist, born in 1791, youngest son of John Pattison of Kelvin Grove, Glasgow, was admitted a member of the faculty of physicians and surgeons of Glasgow in 1813. He acted in 1818 as assistant to Allan Burns, the lecturer on anatomy, physiology, and surgery at the Andersonian Institute in that city, but he only held the office for a year, and was succeeded by Dr. William Mackenzie [q. v.] He proceeded to Philadelphia in 1818, and there lectured privately on anatomy. In 1820 he was appointed to the chair of anatomy, physiology, and surgery in the university of Maryland in Baltimore, a post he filled for five years and resigned on the ground of ill-health. During this period he edited the second edition of Burns's ‘Observations on the Surgical Anatomy of the Head and Neck,’ which was published in 1823. Pattison returned to England in July 1827. He was appointed, and for a short time occupied the important position of, professor of anatomy at the university of London (now University College), acting at the same time as surgeon to the University Dispensary, which preceded the foundation of the North London Hospital. These posts he was compelled to relinquish in 1831, and in the same year he became professor of anatomy in the Jeafferson Medical College, Philadelphia, where he received the degree of doctor of medicine. He was appointed professor of anatomy in the university of New York on the reorganisation of its medical department in 1840, a post he retained till his death on 12 Nov. 1851. He was author of ‘Experimental Observations on the Operation of Lithotomy,’ Philadelphia, 1820; and of much controversial material of ephemeral interest. He edited in 1820 the ‘American Recorder,’ and the ‘Register and Library of Medical and Chirurgical Science,’ Washington, 1833–6; and was co-editor of the ‘American Medical Library and Intelligencer,’ Philadelphia, 1836. He translated Masse's ‘Anatomical Atlas.’ He left a widow, but no children.
[New York Journal of Medicine, 1852, new ser. viii. 143; Lancet, London, 1830–1, ii. 693, 721, 753, 785; Gent. Mag. 1852, i. 196; additional information kindly contributed by Professor H. E. Clarke of Glasgow.]
D’A. P.
# Dictionary of National Biography, 1885-1900/Paisible, James

​PAISIBLE, JAMES (1656?–1721), flautist and composer, a native of France, born about 1656, is said to have come to England about 1680 (Fétis). He had patrons among his compatriots. The Duchesse de Mazarin, with the help of M. de St. Evremond, gave exquisite concerts at Paradise Row, Chelsea. For these St. Evremond's melodies were worked up and supplied with harmony and accompaniments by the musician, resulting in such slight drawing-room musical scenes as ‘Idyle,’ ‘Les Opéra,’ ‘Les Noces d'Isabelle,’ and ‘Concert de Chelsey.’ In one of these scenes Paisible is introduced by name, and may be supposed to have sung the part—that of a young musician. Another character is ‘an old poet’ (St. Evremond?).
Parlez, Vieillard; parlez, Paisible;  Goûterez-vous au bonheur si sensible?
This, as well as a lively sketch of the musician given by St. Evremond in a note to the duchess, must belong to a date prior to 1700. St. Evremond describes Paisible as indolent, but with easy and agreeable manners.
On 4 Dec. 1686 he procured a license from the vicar-general for his marriage with one Mary Davis. About 1691 he began to supply overtures and musical interludes to the London theatres. In 1703 his music was performed ‘before Her Majesty and the new King of Spain,’ the occasion being the reception by Anne at Windsor of the Archduke Charles, 29–31 Dec. 1703. From that year until 1714 Paisible composed the tunes to Isaac's dances for the birthday festivals of the queen, while he described himself in his will as having been in her service and in that of George I as ‘musitioner,’ with arrears of salary paid.
He lived in the parish of St. Martin's-in-the-Fields for some years before his death, which took place about August 1721. His will was signed 17 Jan. 1720–1, Peter La Tour being one executor, and Francis Dieupart another, in charge of property in France.
Paisible's published works include: 1. ‘Pièces à trois et quatre parties, pour les Flûtes, Violons, et Hautbois,’ &c., Amsterdam. 2. ‘Quatorze Sonates à deux Flûtes,’ Amsterdam. 3. ‘Brauls’ in ‘Apollo's Banquet,’ 1690. 4. ‘Overture and Interludes to “King Edward III,”’ 1691; 5, to ‘Oroonoko;’ and 6, to ‘The Spanish Wives,’ 1696. 7. ‘The Queen's Farewell’ in ‘Deliciæ Musicæ,’ 1695. 8. ‘Duetts for Flutes (Thesaurus Musicus),’ 1693–6. 9. ‘The Humours of Sir John Falstaff,’ 1700. 10. ‘She would and she would not,’ 1703. 11. ‘Love's Stratagem.’ 12. ‘Three Overtures,’ 1704. 13. ‘Tunes to Mr. Isaac's Dances,’ 1703–1715. 14. ‘Six Sonatas of two Parts, for two Flutes,’ 1710? 15. ‘Six Setts of Aires for two Flutes and a Bass,’ 1720? Manuscript music by Paisible for flute is preserved in British Museum Additional MSS. 30839 and 31429. The Mr. Paisible of Southampton, composer of a harpsichord lesson (Addit. MS. 34609), may be his son, the James Paisible referred to in Paisible's will.
L. M. M.
# Dictionary of National Biography, 1885-1900/Paine

​PAINE. [See also Pain and Payne.]
# Dictionary of National Biography, 1885-1900/Pain

​PAIN. [See also Paine and Payne.]
# Dictionary of National Biography, 1885-1900/Pain, William

​PAIN, WILLIAM (1730?–1790?), writer on architecture and joinery, published a series of practical treatises. The earliest was ‘The Builder's Companion and Workman's General Assistant,’ 92 plates, fol. 1759, chiefly dealing with work in the Chippendale style. This was followed by ‘The Builder's Pocket Treasure; or, Palladio delineated and explained,’ 44 plates, 8vo, 1763; and compilations of the same description appeared in 1774, 1780, and 1782. ‘The British Palladio; or, Builder's General Assistant,’ &c., 42 plates, fol. 1785, was reissued in 1793, 1797, and 1804. The date 1770, usually assigned to Pain's death, is obviously too early. A William Paine died in the Isle of Thanet on 27 July 1771 (Gent. Mag. 1771, p. 378), but the architectural writer must have died after 1790. ‘W. Pain,’ of 1 Diana Place, Fitzroy Square, who exhibited at the Royal Academy designs in the Gothic style in 1802 and 1807, was possibly a son.
Another son, James, a builder and surveyor, assisted his father in his latest publication, and left at least four sons, three of whom (Henry, James [q. v.], and George Richard) were pupils of the architect John Nash.
[Dictionary of Architecture; Catalogue of Royal Academy.]
W. P.-h.
# Dictionary of National Biography, 1885-1900/Paine, James (d.1829?)

​PAINE, JAMES (d. 1829?), architect, only son of James Paine the elder [q. v.], was instructed at the St. Martin's Lane Academy, and exhibited ‘stained drawings’ at the Spring Gardens exhibitions of 1761, 1764, and 1790. He then appears to have travelled in Italy. On his return he sent to the exhibitions of the Royal Academy of Arts architectural drawings in 1781, 1783, and in 1788 an ‘Intended Bridge across Lough Foyle at Derry.’ In 1791 he was one of the original fifteen members of the ‘Architects' Club’ (Mulvany, Life of Gandon, 1847).
His father, by his will dated February 1786, probably left his son independent, which may account for his name not being found in later ‘Catalogues’ of the Royal Academy. In the library at the South Kensington Museum is a large volume with ‘J. Paine, jun. Archt. Rome, 1774,’ on the outside, containing fifty-seven drawings of studies at Rome, all signed by him, being plans of four palaces, views at Albano and Tivoli, measured drawings of the Ponte Rotto, and a number of statues with their measurements. In 1788 he had residences in both North End, Hammersmith, and Salisbury Street. On 12 March 1830 Mr. Christie sold the pictures, a few casts, books of architecture, &c., ‘the property of J. Paine, Esq., Architect (deceased).’ Among them were the account and other books by Nicholas Stone, sen. [q. v.], and his son, Henry Stone [q. v.], formerly belonging to Vertue (quoted in Walpole's Anecdotes), and now preserved in Sir John Soane's Museum. His portrait was included with his father's in the picture painted by Sir Joshua Reynolds in 1764.
W. P.-h.
# Dictionary of National Biography, 1885-1900/Pain, James

Contains subarticle George Richard Pain (1793?–1838).
​PAIN, JAMES (1779?–1877), the younger, architect and builder, was son of James Pain, and grandson of William Pain [q. v.] Born about 1779 at Isleworth, Middlesex, he was apprenticed with a younger ​brother, George Richard Pain (1793?–1838), who was born in London about 1793, to John Nash [q. v.], architect, and subsequently the two brothers entered into business together as architects and builders. George exhibited at the Royal Academy designs in the Gothic style in 1810–14, while living at 1 Diana Place, Fitzroy Square. About 1817, when Nash designed Loughcooter Castle, co. Galway, for Charles Vereker, viscount Gort, he recommended the brothers as builders. They consequently went to Ireland. James settled at Limerick and George at Cork. While practising as architects they often carried their own designs into execution. James was appointed architect to the board of first-fruits for the province of Munster, where a large number of churches and glebe-houses were built, altered, or repaired by him and his brother. Their churches of Buttevant, Midleton, and Carrigaline, with a tower and spire, are among the best specimens of the Gothic architecture of the period. The mansion, Mitchelstown Castle, near Cork, for the Earl of Kingston, is the largest and perhaps the best of their designs; it is in the late thirteenth-century style. An engraving appears in Neale's ‘Seats of Noblemen and Gentlemen,’ 4to, 1825, 2nd ser. vol. ii.
Others of their works were the gaols at Limerick and Cork; Bael's, Ball's, or Bawl's bridge, consisting of one arch, over the abbey stream at Limerick (1831); Thomond bridge, over the river Shannon at Limerick, between 1839 and 1843; and Athlunkard bridge, about a mile distant, consisting of five large elliptic arches.
George died in 1838, aged 45, and was buried in the churchyard of St. Mary, Shandon, co. Waterford. James retired, and died in Limerick on 13 Dec. 1877, in his ninety-eighth year, and was buried at the cathedral of that city.
[Neale (as above); local information; Dictionary of Architecture of the Architectural Publication Society, which adds the names of many other buildings.]
W. P.-h.
# Dictionary of National Biography, 1885-1900/Rhese

​RHESE. [See Rees, Rhys, Rice.]
# Dictionary of National Biography, 1885-1900/Rhodes, Hugh

​RHODES, HUGH (fl. 1550), author of the ‘Book of Nurture,’ ‘born and bred in’ Devonshire, was a gentleman of the king's chapel. For the benefit of the children of the chapel he prepared his ‘Boke of Nurture, or Schoole of good Maners. For Men, Servants, and Children, with Stans puer ad mensam.’ This was printed by Thomas Petit, probably about 1550. There is a copy (imperfect) in the Bodleian Library. It deals with (1) ‘The Duties of Parents and Masters; (2) The Manner of serving a Knight, Squire, or Gentleman; (3) How to order your Mayster's Chamber at night to bed-warde; (4) The Book of Nurture and Schoole of good Manners for Man and for Chylde; (5) For the Wayting Servant; (6) The Rule of Honest Living.’ A new edition is dated in 1577, and this edition was reprinted in 1868 for the Early English Text Society by Dr. F. J. Furnivall.
Rhodes was also author of ‘The Song of the Chyld-byshop, as it was songe before the Queenis Majestie in her privie Chamber at her manour of Saynt James in the Feildis on Saynt Nicholas Day and Innocents Day this year nowe present, by the Chyld-byshope of Paules Churche with his Company’ (1555) (Warton, ed. Hazlitt, 1871, iv. 237). This poem consists of thirty-six octave stanzas and is a fulsome panegyric on Queen Mary.
F. W.-n.
# Dictionary of National Biography, 1885-1900/Rhodes, Ebenezer

​RHODES, EBENEZER (1762–1839), topographer, was born in Yorkshire, probably at Sheffield, in 1762. He entered the cutlery trade, and was elected master-cutler in 1808. Rhodes made many excursions with James Montgomery [q. v.], whom he had first met accidentally on an antiquarian tour, to Monsal Dale, Miller's Dale, and other parts of Derbyshire. In 1818 he published the first part of his folio edition of his ‘Peak Scenery, or the Derbyshire Tourist,’ dedicated to the Duke of Devonshire and illustrated by Chantrey. It was completed in four parts by 1824, and republished, London, 1824, 8vo, without the plates. This was followed by ‘Yorkshire Scenery,’ pt. i. London, 1826, 4to (no more published). In 1837 Rhodes issued a small ‘Derbyshire Tourist's Guide and Travelling Companion.’ All his books involved him in financial loss, although his ‘Peak Scenery’ remains a standard work. Apart from these ventures, he had turned his attention to journalism, and for a few years was editor of the ‘Sheffield Independent.’ Meanwhile his business failed, and before his death he became a bankrupt. A fund was raised for his support, to which Montgomery subscribed 100l., while Chantrey privately gave Rhodes 50l. a year. Rhodes thenceforth made a small income by preparing steel plates for engravers by a novel process. He died, in embarrassed circumstances, on 16 Dec. 1839 in Victoria Street, Sheffield, leaving a family unprovided for.
[Hunter's Hallamshire, p. 346; Leader's Reminiscences of Old Sheffield, pp. 58, 109, 220, 221–2; Montgomery's Life by Holland and Everett, i. 136, ii. 28, 39, 203, 359, iii. 305, 327, iv. 245, v. 373; Sheffield Iris, 17 Dec. 1839; information from Mr. J. Rodgers of Newark.]
C. F. S.
# Dictionary of National Biography, 1885-1900/Rhodes, John N.

John Nicholas Rhodes in the Oxford Dictionary of National Biography.
​RHODES, JOHN N. (1809–1842), painter, only son of Joseph Rhodes, was born at Leeds in 1809. His father practised as a painter at Leeds for nearly half a century, and died there in 1854. John, after studying art under his father, exhibited eight pictures between 1839 and 1842 at the Royal Academy, British Institution, and the Suffolk Street Gallery. The subjects were rustic scenes and groups of cattle. He resided for many years in London, but returned to Leeds, owing to ill-health, a few months before his death on 3 Dec. 1842.
C. D.
# Dictionary of National Biography, 1885-1900/Rhead, Alexander

​RHEAD, ALEXANDER (1586?–1641), anatomist and surgeon. [See Reid.]