Bouts, Dieric (dear-ik boots), erroneously STUERBOUT, 1391 ?-1475; b. at Haarlem, Hol. "Though a Dutchman by birth, he is entirely a painter of the Flemish School of van Eyck." His two greatest works are the Triumph of Justice and a Last Supper, in Louvain. His devotional pictures are severe and somewhat melancholy; his coloring is of high merit, especially in his green and red draperies.

Braccio Nuovo, Museo. See Vatican Sculptures. P. 479. Bramante d'Urbino, DONATO LOMAZZO. Place and date of birth unknown. In early life studied painting. Some of his frescoes remain in Milan. His more important works are architectural. He was appointed architect of St. Peter's, Rome, and erected the four great arches supporting the dome. After his death the plan of the church was changed. Michael Angelo said of him: "Bramante was one of the most able architects since the days of the ancients." Buried in St. Peter's, 1514. Age about 70. Brenner Pass. See Route No. 58. See also Alps. Brera Gallery, Milan. See Part II., Brera. P. 424. *Bridgewater Gallery, Bridgewater House, St. James's, London. Upwards of 300 pictures; M., Tu., Th., and F., 10-5, by card obtained of Messrs. Smith, 137 New Bond St. Catalogues at the Gallery. See Madonnas, Nos. 17, 18, and 19.

"There is a deficiency of examples of the older Italian and German Schools in this collection; but from the time of Raphael the series is more complete than in any private gallery I know. The Carracci School can nowhere be studied to better advantage."-Mrs. Jameson.

Bril (breel), Paul, 1556-1626?; born at Antwerp. He painted principally at Rome, and is said to have made essential advance in the art of painting and to have beneficially influenced Rubens, An. Carracci, and Claude Lorraine. His principal work is a fresco in the Vatican, 68 ft. long. He painted with equal success landscapes and figures. The Louvre has 8 of his works.

Bristol (chasm), Eng., 118 mls. w. from London (3 hrs.); pop. 175,000; on the Avon. Was fortified in the 5th cent.; castle built in time of Henry I. Birthplace of Sebastian Cabot, Chatterton, Southey, and Bagley the sculptor.

British Museum. See Part II., British Museum. P. 426. Brouwer, Adrian (brow-wer), 1608–1640; b. Haarlem (or Oudenarde), Hol.; d. Antwerp; painter and engraver.

"He commenced by designing flowers and birds for his mother, who embroid red for a living. Entering the school of Hals, young Brouwer's progress was

rapid; but he was not able to endure the ill-treatment of his master, who appro priated his works, selling them at high prices. Escaping from the house, he visited successively Amsterdam, Antwerp, and Paris."

He painted in a superior manner peasant-scenes, uins, guardhouses, fêtes, and gamblers. In quaint conception and facile delineation he is nearly the equal of his master. His pictures are seldom met with, and are now highly prized.

The largest number known in any collection is that at Munich, nine, of which six are masterpieces. Recent research has shown Brouwer's life to have been much less irregular than has generally been stated by biographers.

PRINCIPAL WORKS: Berlin, 853 B; Cassel, 380-1; Dul., 54; Frank., 233, 234, 231 A; Hermit., 937, 941; Louvre, 47, 44; Madrid, 1219; Munich, 273, 1107; Pesth, 641; Rijks, 64–5; Uff., 959.

Brueghel, BREUGHEL (broy'-gel): I. PIETER, THE ELDER, known as Peasant Brueghel; 1520-1569; b. at Brueghel, Holland. His subjects were peasant life and scriptural scenes. Attained to no great eminence. His best works are at Vienna.

II. PIETER, THE YOUNGER, 1564-1637; son of I.; delighted in representations of the infernal regions, and hence is frequently mentioned as 66 Hell Brueghel." He possessed little power as an artist. His sky is peculiarly green, and his landscapes dotted with figures.

III. JAN (yahn), son of I., known as Velvet Brueghel; " the most eminent of the family, 1569-1642 ?; b. at Brussels. Subjects were landscapes, marine, genre, biblical, fruit and flowers. His touch vigorous, his management of light and color highly effective and masterly, and his works are finely finished. He often painted the landscapes in the works of Rubens, van Balen, and Rottenhammer, and figures for de Steenwick and de Momper. His landscapes frequently have an excess of blue.

Brun, Charles le (broof); 1619-1690; b., Paris. He early displayed great talent, and at fifteen painted his Hercules and the Horses of Diomedes. At 22 he was sent to Italy to study, where he spent six years. Returning to Paris, he became painter to Louis XIV., and was employed in decorating the royal palaces of Versailles and the Louvre. Under his influence the king estab lished the Royal Academy of Art. The Louvre has 26 of his pictures, besides the mural decorations. He has been criticised as a theatrical and showy decorator.

Brun, Elizabeth Louise le, 1755-1842; b., Paris. She painted portraits with success at the age of 15. Disturbed at the

revolutionary course of public affairs, she went to Italy and thence visited nearly every country in Europe, returning to France in 1801. She was elected a member of the Academies of Rome, Parma, Bologna, Berlin, Geneva, St. Petersburg, and several others. Her works number over 600 portraits and 200 landscapes, many of which have been engraved. She has six works in the Louvre. Her portrait of herself and daughter, in the Louvre, is a favorite subject with copyists.

Brunelleschi (-ke), Filippo, 1377-1446, Florence. To no one of the early masters is modern art more indebted than to Brunelleschi. He has been called the Father of the Renaissance. He was among the first of modern artists to feel the inspiration of the remnants of Ancient Art, and the first to reapply geometry to architecture. Masaccio, following his example, applied it to painting and mosaics.

Visiting Rome, he studied with the greatest assiduity and enthusiasm the marvellous ruins which met him on every hand.

Commissioned by the Government of Florence to undertake the completion of their great cathedral, he designed and erected the magnificent dome, one of the boldest masterpieces, and at that time without a parallel. He also designed the church of San Lorenzo, the Capella Pazzi, the Courts of Santa Croce, and the Pitti Palace, a structure which still remains a model of the highest architectural taste.

"As an architect he was not exactly the originator of the new style which supplanted the Gothic, but he was certainly the master who, by his great power, stamped that superiority as a fact."-Grimm.

Brünig Pass, Switz. See Route 30, and also Alps.

Brussels, BRUXELLES (brook'-zel', house on the marsh), Belg. The city, containing a population of nearly 400,000, is divided into the upper town, occupied by the nobility and foreign residents, and the lower town, the residence chiefly of artisans and traders. The business portion of the city lies on the slope be tween the two. Upon the brow of the upper town is the Park, adjacent to which are the Royal Palaces.

In the general appearance of its streets, parks, and buildings, Brussels much resembles Paris; the French language is also used by the upper clasess.

The Principal Places of Interest are the Park, the Palais du Roi, the Palais Ducal, the Palais de la Nation, the Palais de l'Industrie, Ancienne Cour, IIôtel de Ville, Musée Wiertz, St. Gudule.

Martyrs' Mon., Colonne du Congrès, and, in the environs, the Porte de Hal, the Bois de la Cambre, and the Field of Waterloo.

THE PARK, on Rue Royale, is the fashionable promenade at sunset and on Sundays. To the 1. is the Palais de la Nation, on the r. is the Palais du Roi, and above this last, at the s. e. corner of the Park, the Palais Ducal. The Park is adorned with fountains and statuary. *Military music Sundays 1-2.30, and on summer evenings at 6.

THE PALAIS DU ROI, s. side of the Park, has little of interest. Residence of Napoleon and Josephine, 1803. Permission obtained from the intendant. The flag announces the king at his palace or at Laeken.

THE PALAIS DUCAL, formerly of the Prince of Orange, is now a Museum.

THE PALAIS DE LA NATION, opp. the Palais du Roi, was erected, 1779, by Maria Theresa as a Parliament House, and is now occupied by the Belgian Parliament. Sessions from 12 to 5 P.M. Admission for the public at the rear, in Rue de l'Orangerie.

GU-DULE, STE., ET ST. MICHEL, Cathedral of Brussels, 13th cent., not yet finished. Closed from 12-4, but admission may le gained on payment of 1 fr. *The magnificent windows are the chief attraction, especially those of the Chapel of the Sacrament, devoted to the Royal Family.

*The Pulpit represents, in carved wood, the Expulsion from Paradise, among the animals are the bear, dog, cat, eagle, vulture, peacock, owl, dove, ape, etc.

See

THE MUSEUM (L'Ancienne Cour) contains a collection of Nat. History, a Galerie Historique, and the Musée de Peinture. Part II., Brussels Museum. P. 431.

THE PALAIS DE L'INDUSTRIE, near the Ancienne Cour, contains the royal library.

THE HOTEL DE VILLE, in Grande Place, near the centre of the city, 1402, is regarded as architecturally one of the finest structures in Europe. Its tower rises to the height of 370 ft., and is placed somewhat to one side of the centre of the building.

THE MUSÉE WIERTZ (vee'-ertz), on the eastern margin of the city, is a small collection of pictures by Wiertz, several of which are of remarkable ingenuity and power; 10-3.

THE MARTYRS' MONUMENT, in Place des Martyrs, was erected, 1838, in memory of the patriots who fell in the struggle for inde