BYRON. '50 BYZANTINE ART. the best of his plays. Among his other works BYWAYS OF EUROPE Descriptions of Bal>cs in the Wood, War to the Knife, travel by Bayard Taylor (1869). A Hundred Thousand Pounds, and .In Amrn- con Lady, .all of which display iiiscnuity rather than invwition. IIo published one novel, Paid in Full (IStia) ; was the tiist editor of /■'»»; and established a short-lived paper called The Comic Times. BYRON, John (1723-8G). An English ad- miral and circumnavigator, the grandfather of Byron, the poet. He accoTnpanied . son around the world, suffering shipwreck and enduring great hardships in Patagonia, and as command- er of a fleet he circumnavigated the glolie in 1764-06. In 1700 he was Governor of Newfound- land, and in 1770 became vice-admiral. In 1778 he was sent with a fleet to watch the move- ments of Count d'Estaing. who had gone to the assistance of the I'nited States in their war against England: and in .Tily of the next year he fought the Count of Grenada, but the action was of little importance. In 1768 he published an account of his shipwreck on the coast of Pata- gonia. It furnished some hints to the author BYZANT, biz'ont. See Bes. t. BYZAN'TINE ART. Broadly speaking, the art that nourished throughout the Byzantine Empire, from the time vhen Constantine the Great made Constantinople (Byzantium) his capital, A.D. .330, to the capture of the city by the Turks in 14.5,S. The term may be applied to Christian art of the Oriental and Hellenic ]ieoples. as soon as it began to differ from the stj'le of early Christian art, which both East and West had largely in ({inimon at the beginning. Its historic development falls into six periods: (1) Formative Aye, Fourth to the Fifth Century, in which experiments were tried and various forms of architectui-e and jiainting |)ut to the service of religion, but no lixed formulas were found. Egj'pt, Syria, .Aisia Minor. North .Africa, Greece, all erected monuments that dilVered very njuch from the official t.vpe of Uoman Christian basilica ; and it was the Hellenic painters who then depi<'t- ed, both in manuscri])ts and on church walls. of Don Juan, who refers to "my grand-dad's nar- ^lie fu-st portraits of Christ and the earliest rative. BYRON BAY. An open bay, about 50 miles •wide, on the east coast of Labrador. North America, in latitude 55° N. and longitude 58° W. (IMap: CaniHla, T 6). BYRON ISLAND. See Gilbert Islands. BYSTROM, bu'strOm, -TonAN Niklas (1783- 1848). A Swedish sculptor. He was born. De- cember IS, 178:5. at Filipstad. in the Prov- ince of Wcrmland, Sweden, and educated under Sergell, of Stockludm. In 1800 he obtained the systematic series of Bible illustrations. (2) The Golden Age of Justinian, began about 500 A.D.. and established the true norms of classic Byzantine art. These were, in architecture, the use of the dome on j)endcntives. with other forms of vaulting in subordination : the deco- ration of surfaces, mainly by deeply colored mosaics and rich marble facings, without the light and shade of heavy architectural projec- tions or relief ornaments. The standard set by Saint Sophia was never afterwards equaled. The centre of official art was at Constantinople, highest prize in the Swedish Academy of xVrts, and the clergy gradually assumed its cimtrol. and in the following year went to Borne, where "— ' .-■---•- he executed his first independent work, a "Drunken Bacchante," and sent it home. It was leoeived with great approbation, and Bystriim had to repeat it thrice. In 1815 he returned to Stockholm, and surprised the newly elected Crown Prince (Bernadotte) by exhibiting a co- lossal statue of him.self, which he had finished all but the head in Rome, and had found means to This school declined during the Seventli Cen- tury. (3) The /coiitti-lasiic Ar/e, lasting sub- stantially throughout the Eighth Century, whilfe it seemed to give a death-blow to certain fcu'nis of religious art, really led to a healthy reform. It temporarily killed religious painting, from an exaggerat(!d fear of the idolatrous tendcney of painted ima.ares of sacred ])ersonages, but de- veloped decorative and lloral design, and its I complete (luielly in Stockholm. The Crown Prince renovation of social and political life reacted ■was highly gratilied, and commissioned BystriJm to execute colossal statues of Charles X., XL, and XII. After 1838 he resided in Stockholm: but returned to Rome in 1844, and died there March 13, 1848. His chief works are: "A Nymph Going into the Bath," a "Reclining Juno Suck- ling the Young Hercules," "Hygieia," "Pandora Combing Her Hair," "A Dancing Girl," a statue •of Liniia^us, and colossal statues of CHuirles XIIL, Gustavus Adol])hus, ami Charles XIV. Bystriim excels in the delineation of females and children, but his male figures are not strongly characterized: his conceptions are always true to nature, his grouping skillfid and pleasant, and his execution is clear and distinct. BYHIVATER, Ingram (1840—). An English classical philologist, born in London, June 27, 1840. He received the degree of A.M. in Queen's OoUege, Oxford, 1803. and was tutor, and, from 1883, university reader in Greek. In 1893 he succeeded Professor Jowett as regius professor of Greek. He is the editor of Fragments of Beraelitus (1877); Prisnanns Lydiis (1886); Nicomachean Ethics (1890); etc. healthily on art, preparing the way for (4) The Macedonian licriral of the Ninth and Tenth centuries. The sturdy rulers of the Jhicedonian dynasty counteracted the morbid and unliealthy tendencies of Byzantine art and fostered the return to classic models. The reigns of Basil the Macedonian, Constantine, and Nicephorus Phoeas saw a second Golden Age of sujierb munu- inents. The imperial palaces were as magnificent as the palaces of the CsEsars in old Rome. ;ind the industrial arts reached an unequaled perfecfion. (5) The Age of the Comneni, during the Elev- enth and Twelfth centuries, at its beginning was as splendid as the preceding. A gn'at ih'W school of art was established at Mount Athos. This moiuistic school spread its influence far and wide. Many cities and monasferies be- came special art centres, no longer dependent on Constantinople. Thessalonica continued fts traditions. The monastic churches of Chios, Daphne, Mount Helicon, Meteora, are a few of the monuments of this age. It was now that Euro])e, through the Crusades, through the trade with Venice, Pisa, Genoa, and other Italian
