marriage of the beautiful and the holy, I would almost call it, from which so many and such great wonders of art were to be brought into light. During the placid hours of their long and intimate interviews, the Frate revealed all the recondite mysteries of his incomparable colouring to his new friend, who, in return, initiated the pious man into all the intricacies of perspective. But more important results were being prepared during these interviews than the two artists themselves were then aware of. From that time dates the second period of Bartolommeo's style; a spark of the greater genius had kindled a stronger light of expression for his future works. Energy had joined and united with devotion; and, on the other side, the delicate blending of colours that Raphael introduced after this time, and the greater breadth and freedom in the cast of draperies which he adopted, are entirely due to the influence and example of the good monk, who was an unparalleled master in both, especially in the treatment of drapery; he having made it the subject of particular studies, with the aid of lay-figures invented and introduced into use by him. It was perhaps on account of the remembrance of the happy hours passed together, and the friendship that had then ensued between Raphael and himself, as well as out of love for art, or out of religious sentiments, that Frà Bartolommeo, eight years afterwards, when bereft by death of his old friend, the faithful Mariotto, felt an irresistible desire to visit Rome. The humble and submissive monk communicated this ardent wish to his superior, who, luckily for art, was pleased to consent. Thus the next year, 1513, saw the Frate in Rome. There, in the presence of the sublime works on which the great Michel Angelo and the divine Raphael were engaged for Pope Leo X., the poor monk was quite taken by surprise. But this surprise, although for a while it depressed his spirit, did not sow any invidious feeling in the honest heart of Bartolommeo. On the contrary, his affection for his friend grew with his admiration, and during all the time he remained in Rome he constantly frequented Raphael's studio; and when, either recalled by his superior, or obliged to leave on account of the Roman air not agreeing with him, on his starting for Florence he intrusted two of his unfinished pictures to Raphael to complete; and Raphael, notwithstanding his numerous occupations, completed them with as much care, if not more, as if they had been his own works. No wonder that art should reach such a climax, when her ministers were so great, so noble, so affectionate to each other! Once more in his cloister, and recovered from the momentary awe which so naturally had come over the modest and inexperienced monk whilst in the vortex of Rome, Frà Bartolommeo, reassuming his brush, executed several pictures which proved the master-pieces of his life; amongst them, it suffices to quote, the "Saint Mark" (now in the gallery of Florence), and the "Madonna della Misericordia" at Lucca. Every successive work was now showing, if it were possible, traces of still further progress, when, in 1517, death stopped his career, he being only forty-eight years old. Few of his works are to be seen out of Italy, and these are—one at Vienna, two small ones at Paris, and another at Berlin—all of them in the public galleries. In England, the Grosvenor collection only possesses a work by this great master. Frà Bartolommeo is justly styled by Mrs. Jameson, in her excellent memoirs of the early Italian masters, the last of the elder painters of the first Italian school; and that lady aptly quotes some words of Sir David Wilkie which I must repeat:—"Here," he says, "a monk, in the retirement of the cloister, shut out from the taunts and criticism of the world, seems to have anticipated, in his early time, all that this art could arrive at in its most advanced maturity; and this he has been able to do without the usual blandishments of the more recent periods, and with all the higher qualities peculiar to the age in which he lived."—R. M.
BACCIOCHI. See Bonaparte.
BACCIOCHI-ADORNO, lieutenant-colonel in the army of Condé, born in Corsica, entered the French service in 1761. His attachment to the cause of the Bourbons throughout the times of the Revolution, was rewarded after the second Restoration by the dignity of "inspecteur aux revues," and the cross of the legion of honour.—J. S., G.
BACCIOCHI, Felix Pascal, husband of the eldest sister of Napoleon, was born in Corsica in 1762, and died at Bologna 28th April, 1841. His family was of noble blood, but poor. He entered the army at an early age, and in 1797, while only a captain of infantry, he married Maria Eliza Buonaparte—Napoleon being at that time general-in-chief of the army in Italy. The young general was by no means pleased with the marriage, but nevertheless permitted his new relative to share the fortunes of the family, and Bacciochi became successively colonel, president of the electoral council of the Ardennes, senator (1804), general, and grand cross of the legion of honour. He obtained finally the principality of Piombino and Lucca, and was crowned with his wife on the 10th July, 1805—the coronation being the prelude to a separation. Bacciochi remained the general, and Eliza Buonaparte, as sister of the emperor, assumed the state of the princess. He afterwards retired to Germany, and in 1831 was allotted a revenue of 100,000 crowns, with the title of a prince of the Roman empire.—P. E. D.
BACCIUS or BACCIO, Andrea, an Italian physician of the second half of the sixteenth century, was a native of Milan. Professor of botany in one of the colleges at Rome, and physician to Pope Sixtus-Quintus, he squandered his fortune, and was obliged to seek refuge from his creditors in the house of Ascanius Colonna. His principal work is entitled, "De naturali vinorum historia, de vinis Italiæ et de conviviis antiquorum, deque Rheni, Galliæ, Hispaniæ, et de totius Europæ vinis," 1576.—J. S., G.
BACCUS, Heinrich, a German printer of the first half of the seventeenth century, author of an account of the kingdom of Naples, printed in the Thesaurus Antiq. et Hist. Italiæ.
BACCUSI, Ippolito, a musician, was born at Verona, some say so early as 1550, but there is better reason to believe, later in the same century. He was maestro di capella in the cathedral of Verona in 1590; and all his known works were published subsequently to this date. These consist entirely of ecclesiastical music, among which his arrangements of Psalms are avowedly formed upon the model of the famous Flemings, his predecessors. He was the first to write instrumental accompaniments to church music. He is said to have been a monk. A list of his works is given in Fétis' Biographie.—G. A. M.
BACELLAR, Antonio Barbosa, a Portuguese historian and poet, born at Lisbon in 1610, was educated at a jesuit seminary for the profession of law, and became a magistrate of Porto. His verses are without particular merit, but an account of Brazil, which he published in 1654, had great success, and was translated into Italian. Died in 1663.—J. S., G.
BACH. The family of musicians remarkable above all others for the number and ability of its members who, for two centuries, successively distinguished themselves throughout Lutheran Germany. Their origin is traced to Veit Bach, a miller and baker of Presburg, who left his native country in consequence of the religious troubles that prevailed there in the latter part of the sixteenth century, and settled at Wechmar, a village of Saxegotha, where he pursued his calling, and became noted for singing to his accompaniment on the guitar. He had two sons, both reputed for their musical talent, the elder of whom, Hans, a carpet weaver, died in 1625, leaving three sons, who were all sent by the count of Schwarzburg-Amstadt to Italy, to develope the great disposition for music which they evinced. In the next generation Johann Christoph and Johann Bernhard at Eisenach, and Johann Michael at Gehren, were distinguished organists and composers. Johann Ernst, the son of Bernhard, born at Eisenach in 1722, at which place he was afterwards kapell-meister, took a prominent rank beside his cousins, the distinguished sons of the colossal Sebastian. His music has great merit. The descendants of the earlier branches of the family, who followed music as a profession with less consideration, were so numerous, that towards the end of the seventeenth century there was scarcely a town in Thuringia, Saxony, or Franconia, that had not one of them as organist, or cantor, or official head of all musical arrangements. These were as much united by brotherly as by artistic feeling, and they held an annual meeting at Eisenach, Erfurt, or Amstadt, for interchange of greetings and comparison of progress. So many as a hundred and fifty of these relatives have assembled on such occasions, when their chief amusement always consisted of mutual musical performances. The compositions of all of them were kept together in a constantly-growing collection, that was called the Archives of the Bachs; which valuable and interesting family memorial was in the possession of C. P. E. Bach at Hamburg, when he died in 1788, and then passed into the hands of M. Pœlchau, a famous collector of music at Berlin. The sons of Emmanuel were the first of the Bachs that deserted the pursuit of their ancestors. The latest of the name publicly engaged in music—but of whose
