induced the Bandiera to risk their lives in an attempt to rouse their countrymen to what they deemed to be their solemn duty. They determined to proceed at once to Calabria, throw themselves among the supposed insurgents in the mountains, and, if unsuccessful in creating a general insurrection, at least set an example of constancy unto death. Mazzini, to the last, used every effort to deter them, but in vain. He has since written of them—"Impatient to bear witness, they sought on all sides an arena upon which to fling themselves. The Italians, said they, need to learn that life is but the realization, the incarnation of thought; that they alone believe who feel the necessity of translating, come what may, into acts, that which they believe to be the true. Italy will live when Italians shall have learned how to die. And for this there is no teaching but example." Acting upon this conviction, they sold all the souvenirs they possessed of any value to purchase arms, and set forth. "In a few hours," wrote Attilio to Mazzini, "we set out for Calabria. Seventeen other Italians follow us, exiles for the most part; we have a Calabrian guide. . . . . If we fall, tell our countrymen to imitate our example. Life has only been given us to employ it usefully and nobly; and the cause for which we combat, and shall die, is the purest, the holiest that has ever warmed human breasts." Emilio also wrote—"One line from me also; for perhaps these will be the last you receive from us. May heaven bless you for all the great good you have done to our country. On the eve of our peril I proclaim the gratitude and veneration due to you from every Italian. . . . Adieu, adieu; poor in all things, we elect you our executor, that we may not perish in the memories of our fellow-citizens." As soon as they landed in Calabria, a traitor who had been placed among them disappeared. He hastened to inform the government of the direction they had taken. They wandered for three days in the mountains without meeting any of the promised insurgent bands, till at San Giovanni in Fiore, they found themselves suddenly surrounded by forces immensely superior to their own. They fought, however, long and bravely. One of them, named Miller, was killed on the spot. Moro fell covered with wounds; two escaped into the mountains; the rest were taken prisoners. On the 25th July, the Bandiera and seven of their companions—Nicola Ricciotti, Domenico Moro, Anacarsi Nardi, Giovanni Venerucci, Giacomo Rocca, Francesco Berti, and Domenico Lupatelli—were shot at Cosenza. They were sleeping calmly on the last morning. When awakened, they dressed themselves with great care, as if for a religious ceremony. A catholic priest presented himself, but they gently rejected his services, saying—"We have sought to practise the law of the gospel, and to make it triumph, even at the price of our blood. We hope that our works will r ecommend us to God better than your words. Go and preach to our enslaved brethren." When they reached the place of execution, they requested the soldiers to "spare the face made in the image of God." When the signal to fire was given, they shouted "Viva l' Italia," and fell dead. In fulfilment of their wish, Mazzini published an account of their life and death, with extracts from their correspondence, under the title, "Ricordi dei Fratelli Bandiera, edei loro compagni di Martirio in Cosenza." Editi da Gius: Mazzini, Paris, 1844.—E. A. H.
BANDINELLI, Bartolommeo, or Baccio, one of the greatest sculptors of Italy, was born at Florence in 1487; died in 1559. But for his deep-rooted envy towards Michel Angelo, this artist by his undoubted genius would have obtained even a greater and more desirable fame. This envy is the key to the style of his works; he wanted, in everything he produced, to beat the Buonaroti; and (to adopt the phrase that the great Michel Angelo used when remarking upon Bandinelli's copy of the "Laocoon"), "He who tries to work after any given type, must always remain behind." Nevertheless, the works of this artist are not to be despised. It is a great deal to say (and yet it is but just) that, had not a Michel Angelo existed, Baccio would have been the greatest sculptor of the age. But it can be suggested that, without the greater genius paving the way, or by his wonderful productions exciting rivality, perhaps Bandinelli's talent would have remained dormant.
Endless are the anecdotes related of the life of this great sculptor in connection with his jealousy of Michel Angelo; and, whilst all serve to show the capabilities of the first, they all tend to prove the unrivalled position of the latter. The reader must be referred for such details to the works of Vasari, Cellini, Lanzi, Cicognara, &c. Be it here enough to say, that no artist ever came so near the grand manner of Buonaroti as Bandinelli did. Many of Baccio's works could pass indeed for those of the former, but that imitation, by the eking out of characteristics, degenerates into exaggeration. This is especially the case with Bandinelli's group of "Cacus," considered by many as his masterpiece. Wanting to show greater anatomical knowledge than his rival, Baccio ended by overcharging the details of his otherwise admirable work. In the beautiful series of bas-reliefs for the Florentine cathedral, perhaps executed at a moment when the strife was not so bitter, Baccio has produced some of the finest specimens of modern art in existence. Many more works at Florence, and several small models, now spread all over the world, bear witness to his great capabilities; but none so much as the bas-relief representing the "Descent from the Cross," now at Milan, in which he surpassed all his other productions, and fully equalled, if not overstepped, Michel Angelo himself. Bandinelli was also a painter, in which art he studied after Leonardo, his great sympathy for whom was, perhaps, the origin of his hatred for Michel Angelo. He attempted also architecture, but was obliged to have recourse to the assistance of Giuliano di Baccio d'Agnolo.—R. M.
BANDINELLI, Clemente, a natural son of Baccio; forced by the whimsical and embittered character of the father to leave his native town, Florence, and to proceed to Rome, where, giving undoubted proofs of a superior talent, he worked himself to death by excessive application, when very young.—R. M.
BANDINELLI, Marco, surnamed Marchino di Guido, an Italian painter of the seventeenth century, originally was the model, cook, and valet to the great Guido Reni, and ended by becoming himself an artist of very fair reputation. He was a native of Bologna.—R. M.
BANDINELLI, Michel Angelo, a nephew and godson of Baccio; proved himself by his pictures in Santa Maria Novella of Florence, worthy of his godfather, and of the christian name bestowed upon him.—R. M.
BANDINI, Giovanni, a Tuscan sculptor of the sixteenth century; executed the statue representing "Architecture" on the tomb of Michel Angelo, at Santa Croce. He was remarkable for his busts.—R. M.
BANDONINA or BLANDONIA, a French nun of the middle of the sixth century, who continued, in the convent to which she had retired with Radegonde, wife of Clotaire I., the biography of that queen begun by Fortunatus, bishop of Poitiers.
BANDRAN or BANDRAND, Michel Antoine, a geographer, born at Paris in 1633; died 1700. He studied at the college of Clermont, where he acquired a taste for geography. He is author of a "Geographical and Historical Dictionary."
BANDURI, Anselmo, a Benedictine monk, distinguished as an antiquarian, was born at Ragusa in Dalmatia in 1671, and died at Paris in 1743. He was librarian to the duke of Orleans. Banduri published, "Imperium Orientale," and "Numismata Imperat. Rom." &c.—J. S., G.
BANEL, Pierre, a French general, born at Lectoure in Gers, 30th July, 1766, killed at the attack of the castle of Cossaria in Piedmont, 10th April, 1796. He was at first a soldier in the 49th regiment of infantry, but quitted the service 17th July, 1789. On the 20th June, 1792, he re-entered the army as adjutant-major of the 2nd battalion of Gers. In 1795 he was nominated general of brigade, and, the same year, passed into the army of Italy, under the command of Augereau. His name is inscribed on the bronze tablets at the palace of Versailles.—G. M.
BANER, BANIER, or BANNER, John, a celebrated Swedish general, born 23d June, 1595; died in December, 1641. He was descended of an ancient Swedish family, and received an excellent education. In his infancy, he accidentally fell from the fourth story of the castle of Hœrningsholm, without receiving the slightest injury; and this accident was reckoned an omen of future greatness. He entered the military service in 1615; and from 1626 to 1629 distinguished himself in the campaigns of Poland and Russia. In 1630 he was raised to the rank of general, and in that capacity accompanied Gustavus Adolphus into Germany. After the death of the king, he was in 1634 nominated field-marshal, and general-in-chief. After a brilliant military career, he died at Halberstadt, under suspicion of having been poisoned, though it is more probable that his death was occasioned by excessive drinking, to which he was addicted.—G. M.
BANES, Dominic, professor of theology at Salamanca, was born at Valladolid in 1527, and died in 1604. He wrote "De
