the consolations of which he had learned the value in his youth, and had never neglected in manhood. He lingered till the 15th April, 1821, when the earthly scene closed upon him. A modest inscription, which marks the spot in the cloisters of Westminster Abbey where his remains rest (close to those of his master. Dr. Cooke), is prefaced by the first notes of Pergolesi's air, "Oh Lord! have mercy upon me." It is not known that Bartleman ever composed either song or glee. He was a good performer on the violoncello, and possessed a large and valuable library of ancient music, which after his decease was sold by auction, and the respectable auctioneer ran away with the proceeds, which thus became lost to his two sisters, who survived him.—(Harmonicon; Musical World; Smyth's Biographical Worthies; and original sources.)—E. F. R.
BARTLETT, John, an English musician of some eminence in the early part of the seventeenth century. He published "A Booke of Ayres, with a Triplicitie of Musicke, whereof the First Part is for the Lute or Orpharion, and Viole de Gamba, and 4 Parts to Sing: the Second Part is for 2 Trebles, to sing to the Lute and Viole: the Third Part is for the Lute and one Voyce, and the Viole de Gamba." London, John Windet, 1606, folio. It is dedicated by the composer to "the Right Honourable his singular good Lord and Maister, Sir Edward Seymore." Bartlett took the degree of bachelor of music at Oxford in 1610.—(Rimbault's Bibliotheca Madrigaliana; Wood's Fasti Oxoniensis.)—E. F. R.
* BARTLETT, John R., an American writer, born at Providence, R. I., in 1805. While engaged in the service of a bank, and subsequently in commercial life, he was noted for his interest in the spread of knowledge, and the foundation of literary institutions in his native place and in New York. He was, along with Mr. Gallatin, the original projector of the American Ethnological Society, and took an active interest in the New York Historical Society. In 1850 he was sent by President Taylor, at the head of a commission, to run a boundary line between the United States and Mexico, under the treaty of Guadaloupe Hidalgo; and on his return he published his "Personal Narrative of the Explorations and Incidents in Texas," &c. Mr. Bartlett has also written "The Progress of Ethnology," and "A Dictionary of Americanisms; a Glossary of words and phrases usually regarded as peculiar to the United States."—J. B.
BARTLETT, William Henry, artist and author, was born at Kentish Town, London, on the 26th March, 1809. In 1822 he was articled for seven years to Mr. John Britton, the architectural antiquary, under whom he made rapid progress. Many of the finest and most elaborate drawings in Britton's Cathedral Antiquities of England were executed by his distinguished pupil. In 1832 Bartlett undertook an illustrated work on Switzerland, in conjunction with his accomplished and amiable friend, Dr. Beattie, who contributed the letterpress of the volume. This work which, like all his productions, met with remarkable success, was followed in rapid succession by a series of similar volumes on the Waldenses, Scotland, Ireland, Holland, Turkey, and other countries both of the Old and New world. The number of plates they contain, engraved from his drawings, amounts to nearly a thousand. He explored the East at five different times, and made four voyages to America between the years 1834 and 1853. In 1844 appeared his "Walks about Jerusalem," the first of those illustrated volumes of which he was the author as well as artist. The cordial reception it met with led to the production of a number of works of the same class—"The Topography of Jerusalem," "Forty Days in the Desert," "The Nile Boat," "The Overland Route," and "Footsteps of our Lord"—all of them admirably adapted to the use of biblical readers. These were followed by "Pictures from Sicily" and "The Pilgrim Fathers." In 1855 Mr. Bartlett undertook a sixth journey to the East, principally with a view to explore the Seven Churches of Asia Minor. Owing to the state of the country, which at that time was devastated by pestilence and infested with robbers, his life was exposed to considerable danger, but he succeeded in accomplishing the object of his visit. His health, however, had suffered severely from fatigue and anxiety; and on his passage from Malta, on board the French steamer Egyptus, he was suddenly taken ill on the 12th of September, and expired on the following day. The results of his last journey to the East were embodied in a work, entitled "Jerusalem Revisited," which appeared shortly after his death. Mr. Bartlett was a person of most amiable and generous disposition, as well as an accomplished artist, and a graphic and instructive writer.—(Brief Memoir by Dr. Beattie.)—J. T.
BARTLING, Friedrich Gottlieb, a German botanist, who has written a botanico-geographical treatise on the shores and islands of the Liburnian sea. Hanover, 1820.—J. H. B.
BARTLING, Heinrich Ludvig, another German botanist, has published a work on the natural orders of plants, with their characters and affinities. Göttingen, 1830. He has also given an account of the botanic garden at Göttingen, and, along with Wendland, has written a monograph on the Diosmeæ.—J. H. B.
BARTOLDO, a Florentine sculptor of the fifteenth century, employed by Donatello, his master, in carrying out in bronze his designs for the pontifical chairs of the church of San Lorenzo at Florence.—R. M.
BARTOLDY, George Wilhelm, a man of great learning, was born at Colberg in 1765. In 1797 he was appointed professor of physics at Stettin, and in 1804 provincial councillor. He wrote several works, principally educational, and translated Bacon's Novum Organum. He died in 1815.—J. F. W.
BARTOLI, Daniele, born at Ferrara in 1608. At the age of fifteen years he was admitted into the order of the jesuits, and after having completed his scholastic career, visited as a preacher all the principal cities of Italy. His eloquence was wonderful, and his renown as a sacred orator became universal. The first work he published was the history of the Society of Jesus; or rather of the missions and travels of the jesuits in the East Indies, Japan, China, England, and Italy. His style is always terse, flowing, and at times lofty. Monti and Giordani, at the beginning of this century, anxious to promote the study of the Italian language, recommended Bartoli's writings for their elegance in style and purity of diction; and Monti, in his dissertation on the vocabulary of la Crusca, styles Daniele Bartoli "the purest and one of the greatest prose writers of Italy." He wrote also many essays on scientific subjects; and although some of his theories have been refuted by Galileo, they are still cited as models of the didactic style in which he excelled. His works on moral science and philology are numerous. Died 1684.—A. C. M.
BARTOLI, Pietro Sante, an Italian painter, and especially an engraver of great merit, born at or near Perugia in 1635; died in 1700 at Rome. He studied painting under Nicolas Poussin, whose works he so faithfully copied as often to leave doubts in Poussin himself which was the copy and which the original. His aptitude to imitations, and the great accuracy and purity of drawing which his master so strongly enforced, prepared Bartoli to become an excellent artist for the reproduction, by means of his etchings, of the drawings, paintings, and sculptures, as well of modern time as of antiquity. The works of this kind that he eventually produced are both very numerous and highly important. Amongst them are foremost the illustrations of the Trajan and Antoninus columns; the antiquities of Rome; the Biblical subjects from Raphael's frescos in the Vatican; besides the reproductions of works by Giulio Romano, Pietro da Cortona, Mola, Albano, Carracci, &c.—R. M.
BARTOLINI, Giuseppe Maria, an Italian historical painter, born at Imola in 1657; died in 1725; a pupil of Pasinelli and Cignani; executed several fine works, and opened a school for artists in his native city.—R. M.
BARTOLINI, Lorenzo, the greatest Italian sculptor of our days, was born at Florence in 1778, and died in 1850. In the history of modern sculpture, whilst Thorwaldsen embodies the German version of the Greek ideal, and Rauch that of an intellectual classicism, Bartolini impersonates the ideal of realism. His first studies were in the art of painting, and made in Paris at a time when the regeneration of that art in France was being effected by the strenuous efforts of the celebrated David. The decided bias of this great painter for the simultaneous imitation of nature and the antique, was the principle which impressed the future sculptor with the tendency that characterized the best period of his subsequent glorious career. Feeling a greater sympathy for sculpture than for the sister art, Bartolini soon left Desmarets the painter, with whom he was studying, to follow Lemot the sculptor. It is under this distinguished artist, and side by side with Pradier, that the sculptoric education of Lorenzo was completed. More inclined towards real nature than his master, and less of a materialist than his fellow-student, Bartolini soon proved by his bas-relief of "Cleobis and Biton," that he was able for himself to strike out a new path,
