pieces of more or less the same character; the most important of these was "The Carnival at Naples," given at Covent Garden in 1830. His oratorio of the "Omnipresence of the Deity," was published in 1829, but never as a whole performed in public. A composition of more consequence to his fame as a musician than anything he had yet produced, was the operatic comedy of "The Pet of the Petticoats," brought out at Sadler's Wells in 1831, and subsequently transplanted to the more important theatres. The charm of the music of this piece, and its highly dramatic character, then quite new in an English writer, attracted connoisseurs from all parts of London to the then obscure little theatre where it was played, and gained its author general admiration. In 1832 Barnett was engaged by Madame Vestris as music-director at the Olympic; in the midst of the busy avocations of which office he had to fulfil a contract for Drury Lane, in the setting of a lyrical version of Mrs. Centlivre's Bold Stroke for a Wife, for Braham to personate the hero. Though this work, as being a nearer approximation to the legitimate form of opera than any on which he had yet been engaged, was attractive to his ambition, the difficulties under which it was written—of there being but very short time allowed for its composition, which time was preoccupied with other pursuits, and of some of the principal parts having to be fitted for actors instead of singers, because they were accustomed to sustain the same characters in the comedy—rendered its production anything but a labour of love. For all this, "Win her and Wear her," as the piece was named, contained some of its author's best music, portions of which he has incorporated in his later works; and that it did not succeed according to its deserts, must be attributed partly to the inappropriateness of the subject, and still more to the inefficiency of the performance. Soon after this he published his "Lyric Illustrations of the Modern Poets," a collection of songs of great poetical feeling, which scarcely received the attention to which its pretensions entitle it. His next work of any consideration was that by which, as his most successful, he is most extensively and most advantageously known. "The Mountain Sylph" was originally designed as a musical drama for one of the minor theatres; but when Mr. Arnold was about to open the new Lyceum, built after the burning of the old, with great professions of what the management was to effect for English music, it was extended into its complete operatic form; and after many managerial impediments, produced at the new theatre in August, 1834, not without opposition on the first night, but with an ultimate success that at once enriched the manager, and still maintains the work a standard favourite upon the stage. Here then was the first English opera constructed in the acknowledged form of its age since Arne's time-honoured Artaxerxes; and it owes its importance as a work of art, not more to the artistic mould in which it is cast than to the artistic, conscientious, emulous feeling that pervades it. Its production opened a new period for music in this country, from which is to be dated the establishment of an English dramatic school, which, if not yet accomplished, has in these four and twenty years made very notable advances. Barnett dedicated this work to his old master, extolling him as the fosterer of the British muse; but before a year was out, he was writing in the public journals, complaining, with too much justice, that this same Arnold refused to remunerate him for the composition of a new opera. It must be admitted, however, by those who wish him best, that his literary talent, or rather the contentious use he had too frequently made of it, has raised him many enemies, and so been an obstacle to his artistic career. He now spent some time at Paris, with the purpose of producing there his "Fair Rosamond," but returned, on the invitation of Mr. Bunn, to give this opera at Drury Lane, where it was brought out in February, 1837. Its success was by no means commensurate with its merits, but its good impression has overlived its season of performance. In this year Barnett married the daughter of Lindley the violoncellist, with whom he went to Frankfort-on-the-Maine, where he studied Vogler's system of harmony, and the principles of composition under Snyder von Wartensee. Here he wrote a symphony, and two violin quartets, which are still unpublished. He returned to London in 1838, and in the February following produced his "Farinelli" at Drury Lane. This is in many respects his best opera; but though the queen, to whom it is dedicated, several times witnessed its performance, for some reason that has not come to light it was withdrawn when at the height of its career, and its peculiar construction, being written without a principal tenor part, has prevented its reproduction. In the autumn of this year, in conjunction with Morris Barnett, the actor, dramatic author, and journalist, he opened the St. James' theatre, with the intention of making it a new home for English opera; but the failure of the initial work, the performance of which had been demanded by the prima donna, caused the closing of this unfortunate undertaking with the first week, and all its brilliant promises thus came to nothing. At the beginning of 1841 Barnett went to Cheltenham to establish himself as a teacher of singing, where he has since remained in very extensive practice. He took with him his unproduced opera of "Kathleen," and has, while there, nearly completed two others, besides writing a treatise on singing, and several detached compositions; his single songs number nearly four thousand. His music is marked by strong dramatic character, and warm poetic feeling, with always an earnestness of purpose that gives significance to his lightest trifles, but it also shows a want of systematic principles, if not of fundamental knowledge; a reliance on the example of the great masters, instead of a comprehension of the laws under which these have been produced; and it is much to be regretted, for his reputation's sake, that he has brought but one work of importance before the world, since his studies at Frankfort may have made up for the deficiencies of his early education. The felicity and decided character of his melodies, and his skill in orchestration, must not be omitted in the enumeration of the qualities by which he is entitled to a place of honour among the musicians of the age.—G. A. M.
BARNEVELDT, Johan van Olden, grand pensionary of Holland, was born of a noble family at Amersfort, in the province of Utrecht, in 1549. He had scarcely reached his twentieth year when he was called to the office of councillor and pensionary of Rotterdam; and such was the opinion even then entertained of his eminent abilities and integrity, that he was allowed an important share in the management of those transactions with France and England, by which the United Provinces sought to maintain themselves against Spain, whose yoke they had just thrown off. His conduct in the high office of grand pensionary of Holland and West Friesland, which he afterwards filled, not only secured the independence, but restored the trade and improved the finances of the United Provinces. After the election of Maurice to the dignity of stadtholder, Barneveldt became the champion of popular liberties, and opposed with determination the ambitious designs of the new prince. He was so far successful as to have a truce of twelve years concluded with Spain, in opposition to the views of the stadtholder; and such was the popularity of that measure, that he must have had the advantage of his rivals, if their respective claims had come to be submitted to an assembly of the states; but about this time the fanaticism of two sects, the Arminians and the Gomarists raged throughout Holland, and the grand pensionary was involved in the ruin of the former. After the condemnation of the Arminians by the synod of Dordrecht, he was adjudged to death as traitor and heretic, by twenty-six deputies named by Maurice. The sentence was carried into effect in 1619.—J. S., G.
BARNEWALL, Anthony, an Irish soldier, who was born in the early part of the eighteenth century, of the noble house of Trimleston, being the son of John, the eleventh baron. He left Ireland, and entered into the service of the emperor of Germany, (in General Hamilton's regiment of cuirassiers,) a practice then prevalent amongst the Irish Roman catholic families of birth. He was present in most of the actions with the Turks, rose rapidly, and was made a lieutenant the day preceding the battle of Crotzka. At the first charge, both the cornet and captain of his troop were slain; Barnewall seized the standard, tore off the flag from it, which he tied round his body, and renewed the charge. He fell at length covered with wounds, after having three times rallied his men. He was universally esteemed, not only as a valiant and good soldier, but as a man of honourable principles and amiable dispositions.—J. F. W.
BARNEWALL, John, a distinguished Irish lawyer, third Baron Trimleston. Before his accession to the title, he filled several high offices, being second justice of the king's bench in 1509, vice-treasurer of Ireland in 1522, and high treasurer in 1524. He was appointed chancellor of Ireland in 1534, which office he filled till his death. He took an active part in the troubles that agitated that kingdom during the period, and was one of the persons commissioned by the privy council in 1537 to treat with O'Neill, then in open rebellion against the English
