States, though it may afford a moral ground for international recognition. In practice, such recognition is usually effected by issuing a proclamation of neutrality, in which the rights of the combatants and the duty of neutrals in relation to them are briefly indicated. See International Law. Consult: Snow, Manual of International Law (2d ed., Washington, 1898); Wheaton, Elements of International Law (8th ed., Boston, 1866); and authorities referred to under the titles International Law; Neutrality, etc.
BEL'LING, Wilhelm Sebastian von (1719-79). A Prussian general of cavalry under Frederick the Great, born at Paulsdorf (East Prussia). He was appointed a cornet of hussars in 1739, rose in 1749 to be major, and in 1758 was assigned, with rank of lieutenant-colonel, to the command of the regiment subsequently known as the 'Black Hussars.' Having been promoted to be colonel, he became famous in 1759-61 by his defensive operations against the Swedish Army in Pomerania and Mecklenburg. In 1762 he became a major-general, in 1776 lieutenant-general, and 1778 appeared prominently in the War of the Bavarian Succession. It was by him that Blücher, then a cornet in the Swedish Army, was taken prisoner at Kavelpass, and persuaded to enter the Prussian service.
BEL'LINGHAM, Richard (1592-1672). A colonial Governor of Massachusetts, born in England. He was recorder of Boston (Lincolnshire), England, from 1625 to 1633, and in 1634 emigrated to America and settled in Boston, Mass. In 1635, and twelve times thereafter, he was Deputy Governor of the colony, and for some time was Treasurer. He was elected Governor over Winthrop in 1641, and was reëlected in 1654, and again in 1665, holding the office altogether for ten years. In 1664 he was also chosen major-general. In the same year he stoutly resisted the royal commissioners, who had ordered him to London to undergo a thorough examination with regard to his official conduct; but, though refusing to recognize their authority, he secured the good-will of the King by the present of "a shipload of masts." As a magistrate, though frequently eccentric and erratic, he was a shrewd administrator, just and upright, and had a decided aptitude for public affairs. In matters of religion he was stern and intolerant, and while in office treated the Quakers with especial rancor. In his will he provided that his property should eventually be devoted to the support of "godly ministers and preachers"; but this provision was annulled by the General Court as being unjust to his family. He was the last survivor of the original patentees of the Charter. His sister, Anne Hibbens, was executed as a witch at Salem in June, 1656.
BELLINGSHAUSEN, bel'lingz-hou'zen,
Fabian Gottlieb von — in Russian. Faddei Faddeyevitch Bellingshausen — (1778-1852). A Russian admiral and explorer, born on the island Osel (belonging to Livonia). He was appointed an officer of the fleet stationed at Reval in 1797, and in 1803 participated in the first Russian circumnavigation of the globe. In July, 1819, he was assigned by the Emperor Alexander to the command of an exploring expedition to the south polar regions. With two corvettes, the Vostok and the Mirny, he traversed the Antarctic Circle, discovered the island which he named Traversay, in December, 1819, and thence penetrated to latitude 70° S., where he discovered and named Peter Island and Alexander Land. The expedition arrived at Cronstadt August 5, 1821. He took part in the military operations against Varna in 1828, was advanced to the rank of vice-admiral, and was placed in command of the Russian Baltic Fleet. Afterwards he became admiral and military governor of Cronstadt, where a fine bronze statue, designed by Schröder, was erected to his memory in 1869. An account of his explorations was published in Saint Petersburg in 1831.
BELLINI, bel-le'ne. A celebrated family of
Venetian painters of the Renaissance. Jacopo
(C.1400-C.64), the founder of the family, was
a pupil of Gentile da Fabbriano, whom in 1423-
25 he accompanied to Florence. He was active
as a painter at Verona, at Padua, where Man-
tegna married his daughter, and at Venice. Two
admirable sketchbooks, one from his early period
in the British Museum, and another of the later
period in the Louvre, show him as an eager
student of the antique and of perspective, anat-
omy, and physiognomy. His principal works,
among them a fresco of the Crucifixion in the
Cathedral of Verona, have perished; but there
are canvases of the same subject by him in
the Verona Gallery and in the Museo Correr,
Venice. Among his other works are Madonnas
at Lovere and in the Venetian Academy and an
"Annunciation" in Sant' Alessandro, Venice.
The early works of his two sons show a. marked influence of the Paduan school. Gentile (C.142S-1507 ) ,the elder, most resembled his father in technique and in conception. Of the events of his life, we know that in 1464 he was com- missioned to decorate the organ-shutters of Saint Mark's, which still survive; in 1465 to paint a full-length portrait of the Patriarch Lorenzo Giustiniani, now in the Academy: and that in 1469 he was made a count palatine of the Empire. He was in 1474 commissioned to re- store the decorations of Gentile da Fabbriano in the Ducal Palace. In response to the request of the Sultan that the Venetian Government send him their best painter, he went in 1479 to Constantinople. Artistic mementos of this journey are still to be seen in his portrait of Mohammed II. in the Layard Collection, Venice, and in the oriental types and costumes which he thenceforth delighted to introduce into his pictures. After his return to Venice, he labored for thirty years on the great historic decorations of the Ducal Palace, which Avere destroyed by fire in 1577. His chief surviving works are three large canvases now in the Vene- tian Academy, representing the miracles wrought by a relic of the True Cross. His last work was the "Preaching of Saint Mark" (Brera, Milan), completed after his death by his brother Giovanni. He excelled especially in portraiture, as is attested by his "Caterina Cornaro" (Pesth), "A Mathema- tician" (London), and two heads in the Louvre. To a fine feeling for line Gentile united har- monious coloring, and he was especially strong in composition. He was a keen realist, and for his day the open-air effects of his pageant pic- tures are very remarkable.
Giovanni (c. 1430-1516) was probably the younger son of Jacopo. Even more than those of Gentile, his early works show Paduan influ-
