578 PEP 
PEP'PERELBOROUGH, a rownfhip of America, in 
York-county, and Rate of Maine, on the north fide of 
Saco-river, near the mouth, which feparates it from Bid- 
deford to thefouth. A bank, by the name of Saco Bank, 
was eftablifhed here in 1803. It lies about twelve miles 
fouth-weft of Portland. It was incorporated in 1772; 
and contains 184a inhabitants. 
PEP'PERELL, a tpwnfhip of Maflachufetts, on the 
eaft branch of Nafhaway-river, and on the north line of 
Middlefex county 5 forty miles north by weft of Bofton ; 
incorporated in 1753, and containing 1333 inhabitants. 
PEP'PERING, adj. Hot ; fiery; angry.—I refented 
highly that he [lord Lanfdown] ftiould complain of me 
before he fpoke to me; I fent him a ■peppering letter; and 
would not fummon him by a note, as I did the reft; nor 
ever will have any thing to fay to him, till he begs my 
pardon. Sivift’s Journal, 1711. 
PEP'PERMINT, f. Mint eminently hot. See Men¬ 
tha. 
' PEPSIQUI'ACH POI'NT, lies on the northern fide of 
Chaleur-bay, now called Pafpibiac Point; about three 
leagues weft-north-weft of Eaft Nouvelle. It is a barren 
plain, nearly a league long, where is carried on a very ex- 
tenfive fifhery. 
PEP'SIS, f. [Greek.] The concodfion of food; the 
maturation of humours. 
PEP'TIC, adj. [Greek.] Helping digeftion. See Pe- 
PASTIC. 
PEPUNG', two fmall iflands of the Eaft-Indian Sea, 
near the coaft of China. Lat. 23.22. N. Ion. 107. E. 
PEP'USCH (John Chriftopher), a very learned mufi- 
cian, was born at Berlin in 1667; and made fo great a pro- 
grefs in mufic at the age of fourteen, that he was fent for 
to court, where he gave fuch proofs of his abilities that 
he was appointed to teach the prince, father of the late 
king of Pruflia. He remained at Berlin till he was about 
twenty, when he went to Holland, where he firft began 
to publifh his compofitions. Continuing there about a 
year, he came to England foon after the Revolution. 
His firft employment in London was playing the tenor 
in the band at Drury-lane play-houfe ; but, having con¬ 
vinced the managers that he deferved a better place, he 
was advanced to the harpfichord about 1700. In 1707 he 
had acquired Englifh fufficient to adapt Motteaux’s tranf- 
lation of the Italian opera of Thomyris to airs of Scar¬ 
latti and Bononcini, and to new-fet the recitatives. In 
1709 and 1710, feveral of his w'orks were advertifed in the 
firft edition of the Tatlers, particularly a fet of Sonatas 
for a flute and bafs, and his firft book of Cantatas. In 
1713 he obtained, at the fame time as Crofts, the degree 
of dodlor of mufic at the univerfity of Oxford. And 
foon after this, upon the eftablifliment of a choral chapel 
at Cannons, he was employed by the duke of Chandos as 
maeftro di capella; in which capacity he compofed an¬ 
thems and morning and evening fervices, which are ftiil 
preferved in the Academy of Ancient Mufic. In 1715 
he compofed the mafque of Venus and Adonis, written by 
Cibber; and, in 1716, the Death of Dido, by Booth; both 
for Drury-lane. Thefe pieces, though not very fuccefs- 
ful, were more frequently performed than any of his ori¬ 
ginal dramatic compofitions. In 1723 he publifhed an 
Ode for St. Cecilia’s Day, which he had fet for the con¬ 
cert in York-buildings. And, about the year 1724, Dr. 
Berkeley, dean of Londonderry, afterwards bifhop of 
Cloyne, having formed a plan for erecting a college in 
one of the Bermudas, or Summer Ifles, among the feveral 
perfons of diftinguifhed abilities whom he had engaged 
to accompany him thither, fixed on Dr. Pepufch. But, 
having embarked with his aflociates for the intended fet- 
tlement, the (hip was wrecked, and the undertaking frus¬ 
trated. Pepufch returned to England after this accident, 
and married Margarita de l’Epine, who had quitted the 
ftage, where (lie had acquired a fortune that was eftinia- 
ted at io,oool. Thefe pofleflions, however, did not incline 
the dodtor to relax in his mufical ftudies or purfuits. He 
PEP 
had always been a diligent colledlorof ancient mufic and 
mufical tradls; and he w’as now enabled to gratify this paf- 
fion without imprudence. He (fill continued to compofe 
for the play-houfe in Lincoln’s-Inn - Fields; and had 
the Squire of Alfatia for his benefit there in 1726, “ with 
finging by Mrs. Chambers, alfo finging in Italian and 
Englifh by Mrs. Forfyth, Mrs. Davies, and Mrs. Grimal¬ 
di, being the firft time of their refpedlive appearances on 
the ftage.” Soon after he was very judicioufiy chofen by 
Gay, to help him to feledl the tunes for the Beggar’s 
Opera, for which he compofed an original overture upon 
the fubjedl of one of the tunes (I’m like a Ikiff), and 
furniftied the wild, rude, and often vulgar, melodies, with 
moft excellent bafies. 
After this period he compofed but little, applying 
liimfelf chiefly to the theory of mufic, and explaining 
the myfteries of compofition to young profeffors. He 
had always been extremely anxious for the profperity of 
the Academy of Ancient Mufic, of which he was one 
of the firft founders, and continued very adtive in its fer- 
vice to the time of his death. As a confequence of his 
mufical erudition and zeal for the advancement of his 
art, he publifhed, in 1731, a corredl edition of a fhort 
“ Treatife on Harmony,” which the feventhearl of Aber- 
corn is fuppofed to have afiifted him in putting into Eng¬ 
lifh. This nobleman had fo long ftudied compofition 
under Dr. Pepufch, and fo frequently converfed with him 
on the fubjedt, that he was fuppofed more able to explain 
his principles in Englifh than the dodlor himfelf. The 
firft edition of this fmall tradl appeared without the plates 
or the confent of the author. This work contains many 
elementary rules for compofition that are pradlical and 
ufeful ; but it likewife contains many prejudices and ex¬ 
ploded dodtrines, which to revive would lhackle genius, 
and throw the art back into Gothic times. 
In 1737 he was appointed organift of the Charter- 
houfe, which afforded him a tranquil retreat well fuited 
to his time of life and love of ftudy; and he was vifited 
and confulted as an oracle, not only by young mufical 
ftudents, to whom he was always kind and communica¬ 
tive, but by every mafter who modeftly fuppofed he had 
ftiil fomething to learn. Here he greatly augmented his 
library, which confifted of mufical curiofities, theoretical 
and pradlical, of all kinds. In 1739 he l°ft a f° n J h> s 
only child, upon whofe genius and difpofition there was 
every reafon to found the greateft expeditions; and in 
1740 Mrs. Pepufch died; after which, his time feems to 
have been chiefly devoted to the ftudy of the genera and 
fyftems of the ancient Greek mufic, concerning which he 
prefented a paper to the Royal Society in 1746, N°48 i. 
and was foon after eledted a member of that learned body. 
Dr. Pepufch died in the year 1752, at the age of eighty- 
five ; and was buried in the chapel of the Charter-houie, 
where a tablet was placed, and infcribed to his memory, 
by his friends and aflociates of the Academy of Ancient 
Mufic. 
As a pradlical mufician, though an excellent harmo- 
nift, the dodlor was poflefled of fo little invention, that 
few of his compofitions were ever in general ufeand fa¬ 
vour, except one of his twelve cantatas, “Alexis,” and 
his airs for two flutes or violins, confifting of Ample eafy 
themes or grounds with variations, each part echoing the 
other in common divifions for the improvement of the 
hand. But, though only one cantata of the two books 
he publifhed was ever much noticed, there is confiderable 
harmonical merit in them all; the recitatives are in ge¬ 
neral good, and the counterpoint perfedtly corredl and 
mafterly. Among all the publications of Pepufch, the 
moft ufeful to mufical ftudents was, perhaps, his corredl 
edition of Corelli’s Sonatas and Concertos in fcore, pub¬ 
lifhed in 1732. He treated all other modern mufic, in 
which there was fancy or invention, with fovereign con¬ 
tempt. Nor is it true, as has been affected, that “ he 
readily acquiefced in Handel’s fuperior merit.” Handel 
defpifed the pedantry of Pepufch ; and Pepufch, in re- 
1 turn. 
