Bâle (bahl), Fr.; BASEL (bah-zl), Ger. (the Queen); Rom. Basilea. A city of Switzerland, situated on both sides of the Rhine, at the point of junction of Germany, Switzerland, and France; that portion on the Swiss bank being called Bâle, or Basel, and that upon the German, Klein Basel. Pop. 50,000. Bâle was a Roman military post as early as B.C. 27. In 1431, the Great Ecclesiastical Council of 500 members, which had for its purpose the purification of the church, commenced here its session. After 17 years' deliberation, and accomplishing little, the members themselves all being excommunicated by the pope, the Council was dissolved. Bâle is the birthplace of Holbein and Euler, and the place of the death of Erasmus, 1536.

The MÜNSTER, formerly the cathedral of the See of Bâle, was built by Emp. Henry II., 1010; burned, and rebuilt in 1185; destroyed by an earthquake, 1356; restored in Gothic style; sacked in the religious disturbances of 1529; redecorated with great richness and elegance, 1852.

The MUSEUM contains a Collection of Natural History and a Gallery of about 400 pictures, among which are numerous works of Holbein the Younger.

Routes To HEIDELBERG (and Frankfort), 6 hrs., $5; $3.40; see Route 22. TO SCHAFFHAUSEN, 2 hrs., $2.50; $1.50. TO LUCERNE, 3 hrs., $1.20; $0.75; see Route 23. To ZÜRICH, 2% hrs., $1.25; $0.80; see Route 27. To BERNE, 3 hrs., $2.20; $1.50; see Route 32. TO PARIS, 10 hrs., $12.50; $9.30, via Belfort. Fast train, usually first-class only. Principal station for the e., s. and w. in Bâle; for the north in Klein Basel.

Balloch, Scot., foot of Loch Lomond. See Route 3.

*Baptistery, The, or Church of St. John Baptist, Florence; is situated in front of the Cathedral, and is one of the most ancient structures in the city. It was erected in the 6th cent., upon the site and from the materials of a pagan temple-probably of Mars-and had an open dome like that of the Pantheon at Rome. In 1293 the brick walls were encased with the present marbles, and in 1550 the dome was surmounted with a lantern. The celebrated Bronze doors of this building hold a distinguished place in the history of Art.

The South door, by Andrea Pisano, 1330, represents the life of St. John; the side decorations are by Ghiberti.

**The East door, that facing the Cathedral, by Lorenzo Ghiberti, 1452, represents 10 scenes from the Old Testament: 1. Creation and Fall; 2. Cain, Adam tilling the earth; 3. Noah; 4.

The

Abraham; 5. Jacob and Esau; 6. Joseph; 7. Giving the Law; 8. Jericho; 9. Battle of Ammonites; 10. Queen of Sheba. side decorations are also by Ghiberti.

"In his bas-reliefs there are numerous female figures which, in the nobleness of their shape and of their head, and in the calm simplicity and development of their attitude, seem to be Athenian masterpieces. One of the youth

ful soldiers seems to be an Alcibiades; before him marches a Roman Consul; blooming young women of incomparable freshness and vigor turn half round, gazing and extending an arm, one of them like a Juno, and another like an Amazon; all arrested at one of those rare moments when the nobleness of physical life attains to its plenitude and perfection without an effort and without reflection."-Taine.

The two por

The Baptism, above the door, is by Sansovino. phyry columns, at the sides, were presented to Florence by Pisa, 1200, in gratitude for assistance in a war against Lucca.

The North door, also by Ghiberti, 1427, represents the history of Christ, the Apostles, and the Church to the time of St. Augustine. Above is the preaching of St. John, by Rustici.

The Interior contains little of interest. On the pavement are ancient mosaics. On the r. of the high altar is a bronze statue, by Donatello, erected to Pope John XXIII., who was deposed by the Council of Constance.

The Baptismal Font is said to be by Giovanni Pisano.

"The kneeling figures on Corinthian capitals is one of the first purely artistic conceptions of the 13th century."

Barbarossa. See Fred. I.

Barberini, Palace. See Part II., Barberini. P. 421.

Baroccio, Federigo (-ok'-chee-o), 1528-1612, b. at Urbino, Italy. Painted at Rome, but his best works are to be found at Urbino and Perugia. Like Correggio, whom he particularly studied, he became a master of chiaroscuro, but was less successful in drawing and composition.

Bartolommeo di Pa'-gho-lo, Fra, IL FRATE, BACCIO DELLA PORTA, 1469-1517, b. at Soffignano, Ital. Pupil of Cosimo Roselli, friend of Albertinelli, and follower of Savonarola.

He was early noted for the beauty of his Madonnas, but under the influence of Savonarola, was led to abandon his pursuit of art. and to destroy all his works upon profane subjects. Becoming a monk, after a time his superior ordered him to resume his former pursuit, which he did with little spirit. Making the acquaintance of Raphael, then in the height of his power, he was

awakened to a new enthusiasm, and at the beginning of the 16th cent. shared with del Sarto the rank of the first master of the Florentine School.

He was the first of modern painters to make use of lay figures.

"Fra Bartolommeo's peculiar sphere is devotional painting; and here he stands the equal of the greatest and noblest masters. His figures are full of deep sensibility, and at the same time free in their action, nobly draped, and of a ripe beauty. But what, above all, contributes to the impressiveness of his pictures, is the magnificent grouping, the well-balanced composition of the whole."-Lübke. "The Pietà of the Pitti Gall. is the most purely beautiful Pietà ever painted." -Radcliffe.

"His favorite compositions are generally simple Madonnas surrounded by angels, but he renders them imposing by splendid architecture and a skilful disposition of the groups. He delights to introduce boy angels, sometimes seated and playing on instruments, sometimes hovering around the Madonna, supporting her mantle or the canopy of the throne itself. Few pictures give a finer idea of the Mother than the Presentation in the Temple, now at Venice, with the figure of Simeon standing with unparalleled dignity."-Kugler.

PRINCIPAL WORKS: Belv., one; Berlin, 249? Borgh., II. 40? Cap., I. 27? Corsi., III. 26; Flor., Acad., 66–9, 78, 82, 28: Herinit., 20; Pesth, 163; Pitti, 64, 125, 159, 208, 256, 377; Uffi., 1126, 1130, 1161, *1265.

Basilica, a large public hall. They were first erected by the Romans about B. C. 200, having a length twice the breadth, with an open centre, the side aisles being covered, and a dais at the end opp. the entrance, sometimes in a circular apsis. Early adopted as the most convenient form for the Christian Church, and retained in its essential features to the present time.

Some of the ancient churches are still called basilicas. Churches having the aisles separated from the nave by columns and having flat ceilings, are said to be in basilica style.

The seven basilicas of Rome are: SS. Peter's, John Lateran, M. Maggiore, Croce in Gerusalemme-all within the walls; outside the walls, Paul's, Sebastian, and Lorenzo.

Basilica. See Constantine, Palatine Hill, and Rom. Forum. Bassano, Jacopo da Ponte, 1510-1592, genre painter; excelied in portraits, animals, and landscapes. Studied with his father, Francisco. Had four sons, all painters, who adopted the style of their father. (Francisco the Younger, 1548-1591; Gio. Battista, 1553-1613; Leandro, 1558-1623; Girolamo, 15601622).

Madrid has 35 of his pictures. Bassano ranks as the first Italian genre painter; he created a taste for cattle scenes and pastoral landscapes, to which he gave a peculiar silver-gray tint.

His coloring is strong, especially his greens, and in his masterly handling of light he recalls the style of Rembrandt.

PRINCIPAL WORKS: Borg., No. 19; Brera, 219; Naples, 3; Pitti, 11; Turin, 167, 245; Uff., 593, 595; Venice, 484.

*Bastille, Place de la, Paris. The Bastille was built in the time of Ch. V. Upon the removal of the ancient fortifications of the city, the Bastille St. Antoine was retained as a state prison. In the First Revolution, 1789, it was captured and destroyed by the populace.

Napoleon intended to erect here a huge bronze elephant, 78 ft. in height, of which a plaster model was for some time kept in a shed erected here for its preservation.

After the Revolution of 1830, the remains of the "July heroes" were interred in this spot, and the present July Column erected, 1840, to their memory. The monument consists of a shaft 75 ft. high, 12 ft. in diam., standing upon a circular base, and surmounted by a gilt globe bearing a statue of Liberty holding in her hands a torch and fragments of the chains of despotism.

The entire height of the column is 154 ft., and bears 615 names of the victims who fell in the Revolution. The foundation of the monument was laid by Louis Philippe, in 1831, and, 17 years after, his throne was burned at its base.

In 1871 the place was strongly barricaded by the communists, and captured only after a very sanguinary conflict. It was their intention to destroy the column, and to this end powder had been placed in the vaults beneath; but, as in the defence of the place the powder was consumed, the column was fortunately preserved.

Bedford, Eng., 45 mls. n. w. from Lond.; pop. 15,000. Has,. in proportion to its inhabitants, more public endowments than any other town in England. See Route 5. Note 14.

Belfast', Ireland, 112 mls. n. of Dublin; the second city in size in Ireland, having a population of about 150,000. The city possesses a large foreign commerce, and is the seat of extensive linen manufactories, some of which, it is said, employ, more or less directly, exceeding 20,000 persons. It has also large works for iron steamship building, the steamers of the White Star Line being built here. In general, the city presents a cleanly, business-like, modern appearance.

Routes Steamers leave usually every day for Dublin, Liverpool, Fleetwood, Port Patrick-nearest point of Scotland, and Greenock-Glasgow.

By railway-TO DUBLIN, 4 hrs., $5; $4. TO PORTRUSH, for the Giant's Cause way, 2.45 hrs., $3; $2.12. To LARNE, for steamers of the State Line, 1 hr., $0.87; $0.65. Stations on opp. sides of the city.

Bellini (bel-lee'-nee), I., JACOPO, 1394-1470, Venice.

"He attained a middle place between the conventionalism of art which preceded him and the naturalistic art which followed him.

"He worthily commenced what his son Giovanni and Titian perfected."

His sketch-book of 99 pages is now in the British Museum. II. GENTILE, son of Jacopo, 1421-1507, Venice, with his brother Giovanni, laid the foundation of Venetian art, and exercised an influence throughout Italy and Germany. In 1479, upon request of the Sultan, the Doge sent Gen

tile to Constantinople. He remained a year, and returned with great honor. His works now remaining are not numerous. His subjects were mostly historical, as his brother's were Biblical.

PRINCIPAL WORKS: Bergamo, No. 193; Brera, 164; Cap., 136: Louvre, 59, 60; Liecht., 35; Pesth, 126; Venice, 529, 543, 555.

1427

III. GIOVANNI (jo-van-ny), 1516, son of Jacopo and the most celebrated of the family.

"His Madonnas are amiable beings imbued with a lofty grace; his saints are powerful and noble forms; his angels cheerful boys in the full bloom of youth." "In him Venetian coloring attained, if not its highest truth of nature, at all events its greatest intensity and transparency. Many of his draperies are like crystals and gems of the clearest and deepest color."-Kugler.

"By grand nobleness of expression, solemn bearing, and the excellent arrangement of drapery, he reached a dignity which has been rarely surpassed.-Lübke. PRINCIPAL WORKS: Barb., 58? Belv., two; Bergamo, 4, 216; Berlin, 4, 11, 28; Borgh., 27, 31, 39; Brera, 278, 291; Cap., 79, 87, 132, 207; Dresd., 210? Hamp. Ct., 117; Hermit., 4; Louvre, 61; Madrid, 60; Munich, 1196?; Naples, 7; Nat. Gall., 189, 280, 694? 726, 808, 812; Parma, 180; Turin, 779; Uff., 354, 583, 631; Venice, 38, 94, 234, 238, 313, 372, 424, 436; Verona, 86.

Bello Sguardo, in the environs of Florence, affording a most commanding and charming view of the city, especially at sunset. In the Villa degli Albizzi, near by, Galileo often resided.

Berchem, Nicholas, BERGHEM, 1620-1683; b. at Haarlem, Hol. He received his first instruction from his father, a painter of little note, afterward from Jan van Goyen, and lastly from Weenix. His early pictures have some resemblance to those of