braced christianity, and in 1809 served in the Austrian army against Napoleon. He was a deputy to the Vienna and Aachen congresses, and in 1815 was appointed Prussian consul-general for Italy, and afterwards ambassador to the court of Florence. During his stay in Italy he formed a valuable collection of articles of art and vertu, which, after his death, was purchased for the Berlin museum. He promoted the fine arts also by his revival of fresco painting, having his house at Rome painted al fresco by the first German artists of the day, such as Cornelius, Overbeck, Veit, Schadow, &c. He has left a "History of the Tyrolese war in 1809," and a "Life of Cardinal Consalvi," with whom he had formed an acquaintance in 1814.—K. E.
BARTHOLIN, the name of a family in Denmark, greatly distinguished by learning, and the many important offices held by its various members:—
Bartholin, Kaspar, was born February 12, 1585, at Malmö, of which place his father was minister. He first studied theology and philosophy at Rostock and Wittenberg. Afterwards, he studied medicine at Basle, where he took his degree. He practised for some time at Wittenberg, and in 1613 was called to the university of Copenhagen, as professor of the Greek language and medicine; in 1624 he became also professor of theology in the same university. He died at Sora in 1629. His works, all of a medical, philosophical, and theological character, are numerous. The most remarkable of these, his "Institutiones Anatomicæ," was translated into German, French, English, and other languages, and became a handbook in many universities during the seventeenth century.
Bartholin, Jacob, son of the preceding, was principally known as an orientalist; he published the cabalistic works, "Bahir and Majan Hachochma." He died at Heidelberg, 1653.
Bartholin, Thomas, brother of the above, born 1616, celebrated for his skill in philology, natural history, and medicine. He was appointed professor of mathematics in the university of Copenhagen in 1647, and in the following year of anatomy, which post he relinquished in 1661, when he retired to his country estate, and in 1670 became physician to the king, which office with several others he held till his death in 1680. His anatomical and medical works are numerous, and he added many valuable facts to the editions of his father's writings on anatomy, published at Leyden in 1641. His biblical archæological works, together with others relating to antiquity and natural history, all acquired great celebrity. He was one of the most learned and industrious physicians of his day, and defended Harvey's theory of the circulation of the blood.
Bartholin, Kaspar, son of the above, born 1654, was also a profound anatomist. He died in 1704.
Bartholin, Thomas, brother of the above, was born in 1659. He wrote the celebrated work "Antiquitatum Danicarum de causis contemptae a Danis adhuc Gentilibus mortis," Copenhagen, 1689. He died in 1690.—M. H.
BARTHOLOMÆUS, a Franciscan monk of the latter half of the fourteenth century. His family name was Glantville, and he was related to the noble house of Suffolk. His work, "De Proprietatibus Rerum," produced in 1366, gives an account of the author's knowledge and observations on all subjects, affording a valuable illustration of the manners of his age; the most important part of it is the last book, which treats of the principles of music, and describes all the instruments then known. It was translated into French in 1372 by Jean Gorbichon, also a Franciscan, and into English in 1398, by John Trevisa, the vicar of Berkeley. In was printed in the original Latin in 1480; a Dutch translation was printed at Haarlem in 1485, and the English version, of which MS. copies had been extensively multiplied, was printed by Caxton, and several after him.—G. A. M.
BARTHOLOMÆUS, a Martyribus, so called from the name of the church in which he was baptized, archbishop of Braga, was born at Lisbon in 1514, and died in 1590. He was present at the third council of Trent, to which town he journeyed on foot from Braga, a distance of thirty-two leagues. He made himself remarked for courage at one of the diets of the council, by protesting against the anomalous etiquette that allowed the cardinals to sit with their hats on in presence of the pope, while it required the bishops to stand uncovered. He was summoned by royal writ to the Cortes of Thomar in 1581, and was received with the honours due to his rank and character. An edition of his works, including his "Stimulus Pastorum," was published in 1734-35. Died in 1590.—J. S., G.
BARTHOLOMÆUS, a Syrian monk of about the year 730, who wrote a refutation of the Koran, published in vol. i. of Variorum Sacrorum.
BARTHOLOMÆUS, bishop of Urbin towards the middle of the fourteenth century. He wrote "Milleloquium Augustini," and "Milleloquium Ambrosii."
BARTHOLOMEW, Alfred, F.S.A., architect. He wrote a paper called "Hints relative to the Construction of Fireproof Buildings," and published a compilation of documents for the execution of the detail of buildings, called "Specifications for Practical Architecture." He was for some time editor of the Builder, in which he wrote a Synopsis of the Building Act, afterwards published in a separate form. He died at Warwick-house, Gray's Inn, January 3, 1845, in his forty-fourth year.—T. F.
BARTHOLOMŒUS, Brexiensis, so called from Brescia, where he was born in 1178; distinguished both as a soldier and writer. He was killed at the taking of his native town.
BARTHOLOMŒUS of Cologne, a distinguished scholar of the sixteenth century, and friend of Erasmus.
BARTLEMAN, James, the finest and most intellectual bass singer of his time, was born in the city of Westminster, on the 19th September, 1769, and received at the usual age into the abbey choir, then under the mastership of Dr. Cooke. He soon showed voice and capacity beyond his years, and became a great favourite with his master. He was distinguished also in boyhood by the patronage of Sir John Hawkins, in whose family he was a frequent and cherished visiter, and whose daughter in her Anecdotes, has preserved some interesting traits of his honest single-mindedness. In 1788 Bartleman's name appears for the first time among the singers at the Ancient concerts, where he remained till 1791, when he quitted them to assume the post of first solo bass at the newly established Vocal concerts. In 1795 he returned to the Ancient concerts, and immediately took the station which, till compelled by ill health, he never quitted, that of principal bass singer in the first concert of the metropolis. Bartleman was a man of an original and enthusiastic cast of mind, which undoubtedly would have enabled him to excel in any walk of art he undertook. By his powerful talent, he contributed to keep alive the passion for Purcell's and Handel's music, which at that time, together with the great Italian masters Pergolesi, Jomelli, &c., almost exclusively enjoyed the favour of the musical public. With a low baritone voice, not of great power, not remarkable either for sweetness or roundness of tone, this highly-gifted singer produced effects by mental energy, and a just conception of the characters he for the time represented in his songs, that made a lasting impression upon his auditors. His style was at once bold, commanding, and illuminated whatever it glanced upon. With a fancy lively to an extreme degree, and a chastened temperance which he derived from his education in the church, the dramatic effect, visible in all his efforts, was refined and rendered fit for the more polished singing of the chamber and concert room. The songs he made his own were, "O ruddier than the cherry," in Acis and Galatea, which, before he sung it, was always considered a rude and unmanageable composition. "Thus saith the Lord to Cyrus his anointed," was another of his chef d'œuvres. Here the magnificent conception of the author kept alive the interest to the very last note of the song. But his greatest triumph was in Purcell's music; the enormously difficult phrases in "Let the dreadful engines of eternal will" he so alternately elevated and subdued, according to the sentiment so powerfully embodied by our native composer, blending the several gradations of passion with delicacy and precision; while, at the same time, his whole strength was tasked to the utmost, that the effect upon the auditor, it is no exaggeration to say, was perfectly astounding. Bartleman's execution was that of his time and school, and confined chiefly to written divisions; his own ornaments were few, simple, and chaste, and always in strict keeping with the feeling of the air in which they were introduced. It is melancholy to record, that many of the latter years of Bartleman's life were passed in almost unremitting pain. His ardent mind long struggled against disease, and he was often delighting crowded audiences with his performance, while the dew of bodily agony stood upon his brow. In 1818 he was frequently prevented from taking his place in the orchestra; and in the following season he was unable to sing even at his own benefit. His couch, however, was smoothed by the tender attentions of his family and friends, and his mind supported by
