of Mutius Scaevola.” The most important work of all, the “Shipwreck of Aeneas,” is no longer extant. From Genoa Perino twice visited Pisa, and began some painting in the cathedral. Finally he returned to Rome, where Paul III. allowed him a regular salary till the painter’s death. He retouched many of the works of Raphael, and laboured hard on his own account, undertaking all sorts of jobs, important or trivial. Working for any price, he made large gains, but fell into mechanical negligence. Perino was engaged in the general decoration of the Sala Reale, begun by Paul III., when his health, undermined by constant work and as constant irregularities, gave way, and he fell down dead on the 19th of October 1547. He is buried in the Pantheon.
Perino produced some excellent portraits, and his smaller oil pictures combine with the manner of Raphael something of that of Adrea del Sarto. Many of his works were engraved, even in his own lifetime. Daniele Ricciarelli, Girolamo Siciolante da Sermoneta, Luzio Romano and Marcello Venusti (Mantovano) were among his principal assistants. (W. M. R.)
PERINTHUS (Turk. Eski Eregli, old Heraclea), an ancient town of Thrace, on the Propontis, 22 m. W. of Selymbria, strongly situated on a small peninsula on the bay of that name. It is said to have been a Samian colony, founded about 599 B.C. According to Tzetzes, its original name was Mygdonia; later it was called Heraclea (Heraclea Thraciae, Heraclea Perinthus). It is famous chiefly for its stubborn and successful resistance
to Philip II of Macedon in 340; at that time it seems to have been more important than Byzantium itself.
PERIOD (Gr. περίοδος, a going or way round, circuit, περί, round, and ὁδός, way, road), a circuit or course of time, a cycle; particularly the duration of time in which a planet revolves round its sun, or a satellite round its primary, a definite or indefinite recurring interval of time marked by some special or peculiar character, e.g. in history, literature, art, &c.; it is so used of a division of geological time. Particular uses of the word are for the various phases through which a disease passes, the termination or conclusion of any course of events, the pause at the end of a completed sentence, and the mark (.) used to signify the same (see Punctuation).
PERIODICALS, a general term for literary publications which appear in numbers or parts at regular intervals of time—as a rule, weekly, monthly or quarterly. The term strictly includes “newspapers” (q.v.), but in the narrower sense usually intended it is distinguished as a convenient expression for periodical publications which differ from newspapers in not being primarily for the circulation of news or information of ephemeral interest, and in being issued at longer intervals. In modern times the weekly journal has become so much of the nature of a newspaper that it seldom can be called a periodical in this sense. The present article chiefly deals with publications devoted to general literature, literary and critical reviews and magazines for the supply of miscellaneous reading. In the article Societies (q.v.) an account is separately given of the transactions and proceedings of learned and scientific bodies, Year-books, almanacs, directories and other annuals belong to a distinct type of publication, and are not referred to here.
British
The first literary periodical in English was the Mercurius librarius, or a Faithful Account of all Books and Pamphlets (1680), a mere catalogue, published weekly or fortnightly in London, followed by Weekly Memorials for the Ingenious (Jan. 16, 1681–1682 to Jan. 15, 1683), which was more of the type of the Journal des Savants (see under France below), whence it borrowed many contributions. Of the History of Learning (1691)—another with the same title came out in 1694—only a few numbers appeared, as the conductor, De la Crose, started the monthly Works of the Learned (Aug. 1691 to April 1692), devoted principally to continental scholarship. The monthly Compleat Library (1692 to 1694) was a venture of John Dunton, the monthly Memoirs for the Ingenious (1693), edited by J. de la Crose, ran for 12 months, and another with the same title appeared in the following year, only to enjoy a briefer career. The first periodical of merit and influence was the History of the Works of the Learned (1699–1712), largely consisting of descriptions of foreign books. The Memoirs of Literature, the first English review consisting entirely of original matter, published in London from 1710 to 1714, had for editor Michel de la Roche, a French Protestant refugee, who also edited at Amsterdam the Bibliothèque angloise (1717–1719), and subsequently Mémoires littéraires de la Grande Bretagne (1720–1724). Returning to England in 1725, he recommenced his New Memoirs of Literature (1725–1728), a monthly, and in 1730 a Literary Journal. Dr Samuel Jebb started Bibliotheca literaria (1722–1724), to appear every two months, which dealt with medals and antiquities as well as with literature, but only ten numbers appeared. The Present State of the Republick of Letters was commenced by Andrew Reid in January 1728, and completed in December 1736. It contained not only excellent reviews of English books but papers from the works of foreigners. Two volumes came out each year. It was successful, as also was the Historia literaria (1730–1734) of Archibald Bower.[1] The Bee, or Universal Weekly Pamphlet (1733–1735) of the unfortunate Eustace Budgell, and the Literary Magazine (1735–1736), with which Ephraim Chambers had much to do, were short-lived. The last named was continued in 1737 as the History of the Works of the Learned, and was carried on without intermission until 1743, when its place was taken by A Literary Journal (Dublin, 1744–1749), the first review published in Ireland. The Museum (1746) of R. Dodsley united the character of a review of books with that of a literary magazine. It came out fortnightly to the 12th of September 1747. Although England can show nothing like the Journal des savants, which has flourished almost without a break for two and a half centuries, a nearly complete series of reviews of English literature may be made up from 1681 to the present day.
After the close of the first quarter of the 18th century the literary periodical began to assume more of the style of the modern review, and in 1749 the title and the chief features were united in the Monthly Review, established by Ralph Griffiths,[2] who conducted it until 1803, whence it was edited by his son down to 1825. It came to an end in 1845. From its commencement the Review dealt with science and literature, as well as with literary criticism. It was Whig in politics and Nonconformist in theology. The first series ran from 1749 to December 1789, 81 vols.; the second from 1790 to 1815, 108 vols.; the third or new series from 1826 to 1830, 15 vols.; and the fourth from 1831 to 1845, 45 vols., when the magazine stopped. There is a general index (1749–1789) 3 vols., and another (1790–1816), 2 vols.
The Tory party and the established church were defended in the Critical Review (1756–1817), founded by Archibald Hamilton and supported by Smollett, Dr Johnson and Robertson. Johnson contributed to fifteen numbers of the Literary Magazine (1756–1758). The reviews rapidly increased in number towards the end of the century. Among the principal were the London Review (1775–1780), A New Review (1782–1786), the English Review (1783–1796), incorporated in 1797 with the Analytical Review (1788–1799), the Anti-Jacobin Review and Magazine (1798–1821), and the British Critic (1793–1843), the organ of the High Church party, and first edited by Archdeacon Nares and Beloe.
These periodicals had now become extremely numerous, and many of the leading London publishers found it convenient to maintain their own particular organs. It is not a matter of surprise, therefore, that the authority of the reviews should have fallen somewhat in public estimation. The time was ripe for one which should be quite independentQuarterlies. of the booksellers, and which should also aim at a higher standard of excellence. As far back as 1755 Adam Smith, Blair and others had produced an Edinburgh Review which only ran to two numbers, and in 1773 Gilbert Stuart and William Smellie issued during three years an Edinburgh Magazine and Review. To Edinburgh is also due the first high-class critical journal, the Edinburgh Review, established in October 1802 by Jeffrey, Scott, Horner, Brougham and Sydney Smith. It created a new era in periodical criticism, and assumed from the commencement a wider range and more elevated tone than any of its predecessors. The first editor was Sydney Smith, then Jeffrey for many years, and later editors were Macvey Napier, William Empson, Sir G. C. Lewis, Henry Reeve and the Hon. Arthur Elliot. Its buff and blue cover was adopted from the colours of the Whig party whose political principles it advocated. Among its more famous contributors were Lord Brougham, Sir Walter Scott, Carlyle, Hazlitt and Macaulay. Scott, being dissatisfied with the new review, persuaded John Murray, his London publisher, to start its brilliant Tory competitor, the Quarterly Review (Feb. 1809), first edited by William Gifford, then by Sir J. T. Coleridge, and subsequently by J. G. Lockhart, Rev. Whitwell Elwin, W. M. Macpherson, Sir Wm. Smith, Rowland Prothero and G. W. Prothero. Among the contributors in successive years were Canning, Scott (who reviewed himself), Robert Southey,
- ↑ Archibald Bower (1686–1766) was educated at Douai, and became a Jesuit. He subsequently professed himself a convert to the Anglican Church, and published a number of works, but was more esteemed for his ability than for his moral character.
- ↑ The biographers of Goldsmith have made us familiar with the name of Griffiths (1720–1803), the prosperous publisher, with his diploma of LL.D. granted by an American university, and with the quarrels between him and the poet.
