placed behind a parapet, or elevation of earth, either to defend a position, destroy the works, or dismount the artillery of an enemy. It likewise means the equipment of a certain number of pieces of artillery. [FIELD ARTILLERY.] It may be said that the ancients made use of a species of ordnance in the operations of attack and defence; and the battering-rams, the balista, and the catapulta, which, when placed on the natural ground, or in buildings of timber, or elevated on mounds of earth, served the besiegers to demolish the walls of fortresses, or to drive the defenders from them, may be considered as corresponding to the guns, mortars, &c., which constitute the armament of a modern battery. Vitruvius states ('De Architecturâ,' lib. x.) that Cetras of Chalcedon was the first who covered the ram with a shed, in order to secure the men who worked it from the arrows, darts, and stones thrown by the enemy; and he adds, that the construction of the shed was subsequently improved by the engineers of Philip and Alexander. The testudines and helepoles were buildings of this nature, for the protection of the men and military engines, and in this respect they correspond to the parapets and épaulements, which cover the ordnance at present employed in the attack of a fortress. (See the description of the helépolis (éλéroλis) of Demetrius. Plutarch, Life of Demetrius,' cap. 21.) While the same species of artillery continued to be used in warfare, it is evident that no material change could take place in the nature of the edifices constructed to cover it; but from the epoch of the invention of gunpowder, the wooden sheds or towers were superseded by masses of earth, whose thickness was necessarily made greater than the depth to which a cannon-shot can penetrate into them. In modern times the designation of a battery varies with the purposes to be accomplished, the nature of the ordnance employed, and the manner in which the firing may be made. A breaching battery is one which may be placed at between 50 and 1000 yards from any wall or rampart, in order to demolish it; and the effect is produced at all times by firing perpendicularly to the front to be breached, and, if near enough, point blank at it; such a battery generally, therefore, has its front parallel to the face of the wall to be breached. An enfilading battery is one whose parapet is perpendicular to the produced line of the enemy's rampart; so that the shot from the guns may graze the interior side of that rampart or its parapet, in the direction of its length. When shot discharged from pieces of ordnance make successive rebounds along the ground, the firing is said to be à ricochet, and the battery a ricochetting battery; and this mode of firing is employed when it is intended to dismount artillery by enfilading a rampart. The effect is produced by giving to the axis of the gun an elevation of between six and nine degrees above a line passing from its chamber through the crest of the enemy's parapet in front; and, according to the latest experiments, the distance at which a battery should be placed from the nearest extremity of the rampart to be enfiladed by ricochet firing is between 400 and 600 yards: at a greater distance than the latter much of the ammunition would be expended without effect. A gun battery is one in which guns only are employed, for either of the purposes above mentioned, or to defend any ground, by a fire of round or solid shot. A howitzer battery is one in which howitzers are employed. This species of ordnance throws shells, or hollow shot, generally at a small elevation of the axis to the horizon; and it serves to produce, by the bursting of the shells, a breach in a rampart of earth; or, when fired à ricochet, to destroy the palisades or other obstacles which might impede the troops in assaulting an enemy's work. Howitzers are also used in conjunction with guns, to form breaches in ramparts of brick or stone. A mortar battery is one in which shells are thrown from mortars at a great elevation of the axis of the piece; so that, by the momentum acquired in falling, they may crush the roofs, and by their explosion complete the destruction of magazines or other buildings. This is called a vertical fire. By employing large charges of powder, a very extensive range has been produced by mortars; for, at the siege of Cadiz, the French are said to have sent shells to the distance of more than three miles from the battery. When the battery is mounted on a natural or artificial eminence, in order to allow the guns to fire from above downward, or to make what is called a plunging fire against or into the works of the enemy, it constitutes a cavalier battery; and when the guns are elevated on a platform, or on tall carriages, so as to be enabled to fire over the superior slope of the parapet or épaulement, the battery is said to be ea barbette. This kind of battery is usually executed at the most advanced points of a fortress, for the purpose of allowing considerable lateral splay in the direction of the artillery to the right or left; by which means the reconnoitring parties of the besiegers may be annoyed while at a distance and in motion. In the formation of any of the field batteries above mentioned, while they are beyond the range of the enemy's musketry, they may be executed without cover for the working parties, like any simple breast-work, after the outline has been traced on the ground by the engineers; but when the men employed in the work would be much exposed to annoyance from the enemy's fire, it becomes necessary that they should be protected by a mask of gabions. [GABION.] These being planted on their bases along the exterior side of the intended trench in front of the battery, permit a cover, which a musket-ball cannot pierce, being soon obtained. Within this line of gabions the excavation is commenced, and part of the earth obtained from the trench is thrown into and beyond the gabions, till the covering mass is thick enough, if necessary, to be proof against a cannon-ball: the men thus work in comparative security to raise the parapet with earth, which they do generally to the height of about seven feet from the ground, and to the thickness of eighteen or twenty feet, not including the breadths of the slopes given to the exterior and interior sides. The exterior slope is generally left with that inclination which earth, when thrown up, naturally assumes, that is at about 45° to the horizon; but the interior slope being necessarily more steep, in order to allow the guns to be brought close up to it, is retained by a revêtement or covering, either of fascines [FASCINES], gabions, or sand-bags, bags full of earth. Batteries are termed elevated, half-sunken, or sunken, according to their method of construction. The parapet of the elevated battery is constructed of earth obtained from the ditch; of a halfsunken battery, part from the ditch and part from the interior; and of a sunken battery, wholly from the interior. The embrasures, or openings in the parapet, through which the guns are to fire, are, at the neck or interior extremity, about two feet wide, and at the exterior about half the thickness of the parapet: each of their sides or cheeks has a small declination from a vertical plane, so that the breadth of the opening at top is rather greater than at the bottom, or on what is called the sole of the embrasure, in order that the flame from the muzzle of the gun may be less liable to damage those sides: for the same reason the latter are lined with fascines, or which is preferred, with gabions, at the neck of the embrasure. The interval between two embrasures is called a merlon; and the part between the sole and the ground within the battery is called the genouillère. The guns rest on platforms, generally of timber, either of a rectangular or dovetailed figure. [PLATFORM.] Besides the parapet which forms the front of the battery, a wing is constructed of the same materials on each side, called an épaulment, in order to protect the interior from any enfilading fire of the enemy. MAGAZINES are always formed either within or near the rear of the battery, to contain the ammunition for its service, in the proportion of one magazine to three or four guns: this is generally a rectangular pit, sunk to about three feet below, with sides and a roof of timber rising about as much above, the natural ground: the roof is covered with earth of a thickness which may be capable of resisting the momentum of a shell, and the descent to the floor of the magazine is by an inclined plane towards the rear. Traverses, or elevations of earth, revetted at the sides generally by gabions, are formed at intervals in the interior of the battery, to afford protection for the men against such shot or shells of the enemy as may fall there. Howitzer and mortar batteries are executed nearly in the same manner as the others, except that mortar batteries never have embrasures, and the embrasures of a howitzer battery are made of a peculiar shape. [EMBRASURE.] ་ Some further particulars of batteries will be found under SIEGE. BATTLE-AXE, a military weapon of offence used in different countries from the remotest times. Sir Samuel Meyrick says, as it was suggested by, so it immediately followed, the invention of the hatchet. The two Greek names for the battle-axe, àşívn (axine), and wéλEKUS (pélekus), occur in Homer in the same verse, ' Il.' O. 1. 711. What was the precise difference between the two weapons we are not told by ancient writers, but it seems probable that the axine was similar to our hatchet, while the peltkus, which is usually translated in Latin by bipennis, had evidently two heads or edges; for Homer mentions another instrument of the same kind in the 23rd book of the 'Iliad,' called 'HμTÉλEкov (hemipelekon), or the half-axe. Suidas interprets 'Huméλera (hemipeleka), by ai μovóσтoμoi àžívaι, one-edged axes. (See Kuster's note on 'Huméλexa.) The pelekus, or bipennis, was also called securis Amazonica, the Amazonian axe, from its being supposed to have been used by those female warriors. The best representation of the ancient form of this bipennis is probably to be found in Petit's 'Dissertatio de Amazonibus,' 8vo, Amst., 1687, where it appears on the reverse of a coin of Thyatira, as well as upon the reverses of two coins of Marcus Aurelius. Numerous other coins of great antiquity bearing the bipennis are referred to in Rasche's 'Lexicon Rei Nummariæ,' tom. i. col. 502, et seq.; Supplem.' tom. i. p. 596. Among the nations and tribes who joined the great expedition of Xerxes, we find battle-axes among the Sacæ (Herodot. vii. c. lxiv.), and the Egyptians (ibid. c. lxxxix.) Brennus, at the siege of the Roman capitol by the Gauls, was armed with a battle-axe. The Vindelici fought against Drusus with the battle-axe. (Horat. ' Carm.' iv. 4.) Tacitus, speaking of a later period (Hist.' ii. 42), describes Otho's forces as cutting through helmets and breastplates with their swords and axes (gladiis et securibus). In the Roman armies, however, we do not find the battle-axe in ordinary use. It seems to have been considered as the weapon more peculiarly used by uncivilised nations. Ammianus Marcellinus (fol. Par. 1681, lib. xix. c. vi.), under the year 359, describes a body of Gauls as furnished with battle-axes and swords. The introduction of the battle-axe into this country has been frequently attributed to the Danes; but proofs of an earlier use of it in our islands are deducible. Mr. Hayman Rooke, in a memoir printed in the Archæologia' of the Society of Antiquaries, has engraved a fragment of a battle-axe found among some Druidical remains at Aspatria in Cumberland, in June 1789 (Archæol.' vol. x. p. 113); and in the same volume (pl. xl.) are two representations of the old Galwegian bill or battle-axe, each two feet six inches long, found in a moss near Terreagles. Remains of others are stated to have been found among the barrows on the downs of Wiltshire, and in the north of Scotland. The Saxons used an axe with a long handle, which they called a bill; this continued long in use, and became the pole-axe and bill-hook of modern times: they had also the double-axe, or twy-bill. The Danes and Norwegians, however, probably made more use of this instrument than any other nations of their time. That the battle-axe was used in England in the Saxon times, we have the authority of different MSS. of the 9th century, and the English are represented as using it, in the Bayeux tapestry. Axe-heads of flint and of bronze have been found in many of the tumuli opened in various parts of this country; and others of a similar kind in those of Denmark (see the 'Archæologia,' and the Journals of the Archæological Association, and Institute, passim, Akerman's Archæological Index,' and Worsaae's 'Primeval Antiquities of Denmark,' translated by Thoms). At the battle of Stamford Bridge, between Harold of England and Harold Harfager of Norway, when the Norwegians gave way and the English pursued them, a total stop is stated to have been put to the pursuit for some hours by the desperate boldness of a single Norwegian, who defended the pass of the bridge with his battle-axe. He killed more than forty of the English, and was himself at last slain only by stratagem. (Hen. Huntingt. 1. vii. 211.) Ware, who wrote in the time of Henry II., mentions the gisarme (a word spelt in a variety of ways by different writers), which seems to have been a species of double-axe, with a cutting weapon projecting beyond the transverse points of the axe. When King Stephen was taken prisoner by the Earl of Gloucester, we are told by Gervas of Canterbury that he had broken his battle-axe in pieces before he took to his sword, and was even then brought down by a stone. (Script. x. Twysd. col. 1354.) During the middle period of English history we read but little of this weapon, though it appears to have been constantly used. The Welsh infantry at the battle of Agincourt, in 1415, found it particularly serviceable in despatching those whom the archers had wounded with their arrows. In Strutt's Manners and Customs of the English,' vol. ii. pl. xliv., Henry V. is represented as setting Richard, Earl of Warwick, to keep Port Quartervyle, at the siege of Rouen, by the delivery of a battle-axe. Toward the close of the 16th century, the battle-axe, as a weapon of war, seems to have fallen into gradual disuse; although the occasional placing of a pistol in its handle, in some specimens which remain, seems to bespeak a wish on the part of the warriors of that period that it should be retained with an improved use. Grose, in his 'Military Antiquities,' vol. ii. pl. xxviii. fig. 4, and pl. xxxiv. fig. 3, has engraved a Lochaber axe and an ancient battle-axe. Sir Samuel Meyrick, in his engraved illustrations of ancient armour now at Goodrich Court in Herefordshire, pl. lxxxiii., has engraved numerous specimens of battle-axes and pole-axes, from the time of Henry VI. to one of the year 1685, which is of Dutch origin, bearing the date, and the handle being ornamented with ivory. The battle-axe was used at a very early period in naval fights, chiefly to cut the ropes and rigging of vessels. (See Scheffer, Mil. Nav.' ii. 7.) BATTLE, WAGER OF. [APPEAL.] BATTLEMENT, a parapet wall, usually indented, originally intended for the protection of soldiers in military works; but in Gothic architecture, and especially English Gothic, commonly employed in ecclesiastical as well as castellated edifices. [GOTHIC ARCHITECTURE.] The battlements are of very remote antiquity, as remains of them still exist in | Greece and Italy (see Mazois' Ruines de Pompeii,' and Stuart's 'Athens'); and they are represented in Egyptian paintings and Assyrian sculpture. The modern battlement, however, is better known as belonging to buildings from the 11th to the end of the 16th century; but it was not in general use in ecclesiastical edifices until the middle of the 12th century. The battlement is generally indented, with a coping sloping both ways from about the centre; the lower part, between the coping and the cornice of the building, is often pierced and decorated. Although by the word battlement is generally understood the whole indented parapet wall, the term may perhaps with more propriety be applied to express rather the higher part of the wall, in contradistinction to the indent, interval, or embrasure. It is possible that the term battlement may have derived its name from the facility afforded to soldiers of doing battle under the protection afforded by the higher part of the indented wall. Battlements offer in their proportions, and in the details of their mouldings and ornaments, a great variety of examples. Few Norman battlements remain. Usually, during the Norman period, the battlement seems to have been a plain parapet without intervals; and, if decorated, the decoration probably consisted of the semicircular arch, the peculiar feature of the Norman style. The upper part or rim of a Norman font, decorated with semicircularheaded panels, in South Hayling Church, Hampshire, appears to be an imitation of such a parapet. The Norman church of l'Abbaye aux Dames, at Caen in Normandy, has a parapet decorated with pointedarched-headed panels, which at the introduction of the pointed-arch style most probably supplanted the old semicircular-arched panel, similar to that at Hayling Church. During nearly the whole period of the First Pointed, or Early English style, the parapet was seldom indented; and in many buildings it was plain, in others decorated. At Salisbury, it is executed with a series of arches and panels, and in Lincoln Cathedral with quatrefoils in sunk panels. A battlement of equal intervals occurs in small orna mented works erected about the close of this period, when this First Pointed or Early English style gave way to the Second Pointed, or as it is ordinarily denominated, the Decorated English style. During this Second Pointed period, the parapet wall without indentations continued frequently to be used; but it is often pierced through in various forms, generally consisting of quatrefoils, and quatrefoils in circles. Another form, however, which is not so common, may be considered more beautiful. This is a waved line, the spaces of which are trefoiled. In St. Mary Magdalen Church, at Oxford, there is a [Waltham Cross, as restored from the ancient fragments, by W. B. Clarke.] battlements of the same date with the capping running both vertically and horizontally, of which there is a fine specimen in the tower of Merton Chapel, Oxford. In some small works of this style a flower is occasionally used as a finish above the capping, moulding, or cornice, but it is by no means common. The nave of York Cathedral presents a fine example of the pierced battlement so prevalent during this period; it consists of arches or arched panels, trefoiled or cinquefoiled, and the interval is a quatrefoil in a circle; the whole is covered with a moulding running both horizontally and vertically. In the battlements belonging to the Third Pointed or Perpendicular style, parapets without indentures still continued to be used occasionally; the serpentine line with the trefoil was also still in use, but the line dividing the trefoil was more frequently made straight, and the divisions were consequently formed into triangular panels. But in the early and best works, the trefoils are not divided by straight lines. One of the finest examples of panelled parapets is at the Beauchamp Chapel, at Warwick, consisting of quatrefoils in squares, with shields and flowers. There are many varieties of pierced battlements belonging to this period. Those erected in the early part of it have commonly quatrefoils, either in the lower compartments or above the panels of the lower compartments, forming part of the higher panels. Two heights of panels are also frequently employed in battlements of this period. At Loughborough there is an example of a fine battlement, consisting of rich pierced quatrefoils in two heights. Such battlements have generally a moulded cornice running round the battlement and the embrasure. A few edifices of a later period have pierced battlements ornamented with pointed compartments, as in the tower of Lincoln Cathedral, the Tomb-house at Windsor, the Lady Chapel at Peterborough, and the great battlement at King's College Chapel, Cambridge. Sometimes on the exterior of a building, and often within, the Tudor or three-leaved flower, forming a point at the top, is used being used as an ornament to the transoms of windows, and in other curiously inappropriate positions. A most remarkable example of the [From the tower of Lincoln Cathedral, from a sketch by G. Moore, Arch.] on the battlement, as at the screens in the choir of Exeter Cathedral; and there are a few instances of the upper part of a battlement analagous in form to it, in small works erected long before this date as at Northampton Cross. But Waltham Cross, erected at the same 肉肉肉肉 [Northampton Cross, from an original sketch by G. Moore, Arch.] time, is without this finish. Some battlements of this period, especially in very rich designs, have, in lieu of the Tudor flower, a finial on the top of pierced quatrefoils, as at Woolpit and Blithborough Churches in Suffolk and Norfolk. Of plain battlements in the Perpendicular style there are many varieties. Some are formed with nearly equal intervals, and with a plain coping placed both horizontally and vertically. Castellated battlements have the embrasures between the battlements nearly equal to the width of the battlements themselves; sometimes [Turret of King's College Chapel, Cambridge.] they have wide battlements and narrow embrasures, with the coping moulding placed horizontally, and the sides cut plain. Another battlement consists of a moulding running round the battlement and the embrasure, while a capping is set upon the horizontal part of the embrasure and battlement, as at York Minster. The most common [York Minster.] battlement towards the close of this period has a broad cornice, consisting of several mouldings, running both vertically and horizontally, the embrasures being very often much narrowed and the battlement enlarged. The battlement, which was originally designed for the protection of the besieged, became afterwards merely an ornament to an edifice; [Buttress, with battlements, at Loddon Church, Norfolk.] excessive use of it as a decoration is shown in the annexed cut, representing the top of a buttress at Loddon Church, Norfolk. BAXTERIANS, a name which is applied to those who adopt the but Baxterianism is still the resting place of many who do not approve theological system of Richard Baxter. The name is now almost extinct; of the extremes of Calvinism. The Baxterians hardly ever attained the rank of a separate denomination, even when they were most numerous; and they are now completely scattered among different communions. Their writings are most popular among the orthodox dissenters. Baxterianism occupies a sort of middle place between Arminianism and Calvinism. It is not correct to say that it reconciles the two schemes. It only connects them by showing that portions from each may be made to harmonise with each other. Hence it would be more properly described as a system of theology framed out of the systems of Calvin and Arminius, and becoming itself the point of union between them. Its chief merit is supposed to consist in the amalgamation of the Arminian doctrine of free grace with the Calvinistic doctrine of election. The Baxterians profess to believe that a certain number, determined upon in the divine counsels, are elected to salvation without respect to their good works. To this extent they receive the doctrine of effectual calling. But to make their view of the operation and comprehensiveness of divine favour complete, they contend that all to whom the gospel is preached are placed in a condition for securing their own salvation. Hence they think with Calvin that Christ died in a special manner for the elect; and, in a more general sense, for all others who come within the light of the gospel. The Calvinistic tenet of reprobation forms no part of their system. The grounds on which Baxter contended that the death of Christ put all men in a state of salvation are briefly these: 1st, Because Christ assumed the human nature, and bore the sins of the human race; 2nd, Because pardon and life were offered to all mankind on condition of acceptance,-"Whosoever believeth shall be saved;" and, 3rd, Because it is not to the elect alone, but to all men, that the benefits of the gospel are proclaimed. The arguments by which the learned divines of this school prove the elect to have a superior interest in the death of Christ over the nonelect, are deeply tinctured with that metaphysical subtlety of which Bishop Burnet complains as the great blemish of Baxter's writings. The hypothesis, in a few words, may be thus stated: that Christ has made a conditional gift of the benefits accruing from his death to all mankind; but to the elect the gift is absolute and irreversible; from which he draws the inference that, notwithstanding the positive possession of these advantages was decreed to the few, yet conditionally the benefit was extended to all. The Baxterians are greatly opposed to Antinomianism. Faith without works they hold to be an unscriptural and dangerous tenet. Several of the minor doctrines of Calvinism are adopted in a modified sense, among which may be mentioned justification and the perseverance of the saints. They advocate the certainty of perseverance, but incline to the opinion that it may be lost by too weak a degree of saving grace. In all the Baxterian deviations from the system of Calvin there is a decided leaning to more comprehensive views. Baxter was himself opposed to the narrowing of the terms of salvation, and designed to remove every appearance of exclusiveness in the operation of divine favour from the system which he took such pains to adjust and promulgate. The most eminent divines who have embraced these opinions since the death of their author are Watts and Doddridge-men who have both illustrated in their works and lives the candid and amiable spirit of the school to which they belonged. (Calamy's Abridgment of Mr. Baxter's History of his Life and Times, 2nd edit. 1713; Baxter's Catholic Theology; Buck's Theological Dictionary.) BAY, in architecture, a division or compartment in a building formed by the main ribs of the vaulting, the principals of the roof; the main beams or arches, pillars, pilasters, or buttresses, or any other principal features which divide the building into corresponding compartments. The space between the mullions of a window is also sometimes, but improperly, called a bay: it is more correctly called a light. BAY-SALT. [SALT.] BAY WINDOW. [ORIEL.] BAYADEER (said to be a corruption of Bailadeira, a Portuguese word, which signifies a dancing woman), a name given to the regularlybred dancing girls in India, who are also the regular prostitutes. Among the Hindu Brahmins, female children are devoted, before their births, under a vow of the parents, to the service of the deity Mahadeo, and these are received into some of his temples. They are brought up in the usual accomplishments, and the wages of their exertions and their infamy enter the treasury of the temple with which they are connected. Mr. Maurice (Indian Antiquities') says that the priests of these pagodas, as he calls them, induce young females to enter, that every pagoda has a band of them, who dance before the idol, to whom they are considered as wedded, and that they are not considered as at all disreputable. If there is any offspring from their promiscuous intercourse, boys and girls are both considered as consecrated to the idol: the boys are taught to be musicians for the festivals; the girls have to lead a similar life to their mothers. Bernier's account, of a much earlier date, is of a like character. The Mohammedans of India have also their dancing-girls, of the same character, but who are generally provided by women who make it their business to select handsome children, teach them the necessary accomplishments, and subject them to the same infamous life; but though called bayadeers, they are not devotees of the temples. These girls are generally introduced to any party that requires their attendance, escorted by a band of musicians. A native band consists of instruments resembling guitars, and others like clarionets, with cymbals and kettle-drums, which altogether produce a very wild, but not an unpleasing, and a somewhat melancholy harmony. The women dance and sing; and when one is desired to dance, she calls for the ornaments of her feet, which consist of silver chains, which she fastens on her ancles. Then, rising from the ground, she arranges her dress, which generally consists of about a hundred yards of light muslin, which terminates in innumerable folds at about the swell of the leg; and of a shawl which covers part of the head, comes over the shoulders, and falls in folds over the petticoat. The hair is seldom ornamented, but is parted in the middle, and kept close down by the aid of the cocoa-nut, which improves its jet and gloss, but communicates an unpleasant odour. Behind the ears a bunch of pearls is worn like a cluster of grapes, and a ring is suspended from one of the nostrils, through which it is inserted. The ornaments however are sometimes more and sometimes less numerous and costly than this. was historical, and that it related to William Duke of Normandy and the conquest of England; and he wrote to Caen respecting it, but got no information. Père Montfaucon, upon reading Lancelot's memoir, saw the value of this curious representation, and left no stone unturned till he had discovered the original. He wrote to Caen and Bayeux, and sent a copy of the drawing for inspection, when, at last, the canons of Bayeux recognised it as a portion of the tapestry in their possession, which tradition said had been worked by, or under the superintendence of, Matilda, the Conqueror's queen, which she had herself given to the cathedral, of which Odo, the Conqueror's half-brother, was bishop, and which they, the canons of Bayeux, were accustomed to exhibit to the inhabitants of the city, in the nave of their church, at a particular season of the year. M. Lancelot, in a second memoir, says it was at that time traditionally called la Toilette de Duc Guillaume, a name by which it is still commonly known at Bayeux. Montfaucon sent an able artist, of the name of Antoine Benoit, to copy it; and at the opening of the second volume of his Monumens de la Monarchie Françoise,' published in 1730, engraved the whole in a reduced form, accompanied with a commentary upon the Latin inscriptions, which, throughout, explain the intention of the figures represented in the different compartments. M. Lancelot, upon the publication of the tapestry by Montfaucon, sent a second memoir to the Academy of Inscriptions and Belles Lettres (as has been just mentioned), which was read in 1730, and published in the same year, in the eighth volume of their transactions, in which he states that the earliest mention of this tapestry among the archives of the cathedral is in an inventory of jewels and ornaments belonging to the church, taken in 1476, where it is called "une tente très longue et étroite de telle à broderie de ymages et eserpteaulx faisans representation du conquest d'Angleterre, laquelle est tendue environ la nef de l'Eglise le jour et par les octaves des reliques." Dr. Ducarel is the next who gives us an account of this tapestry, in the appendix to his 'Anglo-Norman Antiquities' (folio, London, 1767), where he has printed an elaborate description of it, which had been drawn up some years before, during a residence in Normandy, by Smart Lethieullier, Esq., an able English antiquary. Ducarel tells us that when he was in Normandy it was annually hung up on St. John's day, and went exactly round the nave of the church, where it continued eight days. At all other times it was carefully kept locked up in a strong wainscot press in a chapel on the south side of the cathedral. The dancing consists in a certain methodical kicking of the right foot, which causes the chains on the ancles to jingle in unison with the music; the dancer now advancing, then retreating; sometimes with the hands up, and twisting them about; at others, enveloping her head completely in the shawl. The movements of the bayadeer are sometimes so slow in this performance that an inexperienced spectator might suppose her about to fall asleep, when, in correspondence with a change in the music, she becomes full of life, and exhibits a rapid and exhausting succession of violent action. She takes up her robe and folds it into various shapes; then she lets it go, so that while she spins round like a top it forms a circle, bearing some resemblance to the tail of a peacock. It is perfectly amazing for what a length of time practice enables them to maintain this circular motion. This part of the per-up at the Theatre du Vaudeville, entitled 'La Tapisserie de la reine formance is sometimes dispensed with. In differents parts of the country these dances vary in the proprieties of dress and attitude. In some parts they are highly indecent, but this is not always, or perhaps generally, the case. The songs of the bayadeers however commonly express, in very warm language, the sentiments of amorous passion, as addressed by the female to her lover. Such songs afford a striking contrast to those of the Persians, who, according to Sir William Ouseley, "never suffer their females to make, either in prose or verse, any advances or declarations of love." (Heber's Narrative of a Journey, &c.; Ouseley's Travels in various Countries of the East.) BAYEUX TAPESTRY, a web or roll of linen cloth or canvass, preserved in the Hôtel de Ville, Bayeux, in Normandy, upon which a continuous representation of the events connected with the invasion and conquest of England by the Normans is worked in woollen thread of different colours, in the form of a sampler. It is 20 inches wide, and 214 feet long and is divided into seventy-two compartments, each bearing a superscription in Latin which indicates its subject, or the person or persons represented. It is edged on its upper, as well as its lower part, by a border representing chiefly quadrupeds, birds, sphinxes, minotaurs, and other similar subjects. Mr. Bruce states that "it contains figures of 623 men, 202 horses, 55 dogs, 505 animals of various kinds not already enumerated, 37 buildings, 41 ships and boats, and 49 trees-in all 1512 figures." Attention was first directed to this singular monument by M. Lancelot, in a memoir presented to the Academy of Inscriptions and Belles Lettres, in 1724, in consequence of his discovering an illuminated drawing from a portion of it, among the manuscripts in the library of M. Foucault, who had been Intendant of Normandy. At the time of finding it, he did not know what it actually represented; whether the original was a sculpture round the choir of a church, upon a tomb, or on a frieze; whether it was a painting in fresco, or on glass; or, lastly, whether it might not be a tapestry. He saw that it From this time till the autumn of 1803 it received but little further notice, when Bonaparte, then first consul of France, contemplating the immediate invasion of England, ordered it to be brought from Bayeux to the National Museum at Paris, where it was deposited during some months for public inspection. The first consul himself went to see it, and affected to be struck with that particular part which represents Harold on his throne at the moment when he was alarmed at the appearance of a meteor which presaged his defeat, affording an opportunity for the inference that the meteor which had then been lately seen in the south of France was the presage of a similar event. (Gentleman's Magazine,' 1830, vol. lxiii., pt. ii. p. 1136.) The exhibition was popular: so much so, that a small dramatic piece was got Mathilde,' in which Matilda, who had retired to her uncle Roger during the contest, was represented passing her time with her women in embroidering the exploits of her husband, never leaving their work, except to put up prayers for his success. (Millin, Magazin Encyclo pédique,' 1803, tom. iv. p. 541.) After having been exhibited in Paris, and in one or two large towns, the tapestry was returned to Bayeux, and lodged with the municipality. Mr. Dawson Turner, in his Tour in Normandy,' written in 1818, says, the bishop and chapter of Bayeux had then recently applied to the government for the tapestry to be restored to their cathedral, but without effect. (Tour in Normandy,' Svo, Lond., 1820, vol. ii. p. 242.) It was most fortunate that this curious monument escaped destruction during the Revolution. Its surrender at that time was demanded for the purpose of covering the guns; a priest however succeeded in concealing it and preserving it from destruction. The new degree of publicity given to the tapestry by its exposure in the French capital again made it a subject of discussion; and the Abbé de la Rue, professor of history in the Academy of Caen, endeavoured, in a memoir, afterwards translated by Francis Douce, Esq., and printed in the 17th volume of the 'Archæologia' of the Society of Antiquaries, to show that a mistake had been committed by tradition in the selection of the Matilda, and that its origin ought not to have been ascribed to Matilda the Conqueror's queen, but to Matilda the empress, the daughter of King Henry I. The next memoir on this curious subject is comprised in a short letter from Mr. Hudson Gurney, printed in the 18th volume of the Archæologia,' who saw the tapestry at Bayeux in 1814, where it then went by the appellation of the Toile de St. Jean, which is explained by what Ducarel has said, that it was formerly exhibited upon St. John's Day. Lancelot, Montfaucon, Ducarel, and De la Rue, appear all to have considered the tapestry as a monument of the Conquest of England, intended to have been continued to Duke William's coronation, but from some cause or other left unfinished. Mr. Gurney considered it to be an apologetical history of the claims of William to the crown of England, and of the breach of faith and fall of Harold; and that, as it stands, it contains a perfect and finished action. In the mean time, the Society of Antiquaries in 1816 despatched an excellent and accurate artist, Mr. Charles Stothard, to Bayeux, who, in that and the succeeding year, brought home a perfect fac-simile of the tapestry, the drawings of which have been since engraved, coloured like the original, and published in the 6th volume of the Vetusta Monumenta, plates i. to xvii. The appearance of the first portion of Mr. Stothard's drawings gave rise to some Observations from Mr. Amyot, in refutation of an historical fact which the tapestry had been supposed to establish; namely, that of Harold's mission to Normandy by the Confessor to offer the succession to William. ('Archæol.' vol. xix. p. 88.) These were followed by C. Stothard's own observations while at Bayeux, pointing out such circumstances as presented themselves to his notice during the minute investigation to which the tapestry was necessarily subjected (Ibid. vol. xix. p. 184), and again followed by 'A Defence of the early antiquity of the Tapestry,' by Mr. Amyot (Ibid. p. 192), in which the objections raised by the Abbé de la Rue against the tradition which made the tapestry coeval with the events it celebrates, are completely invalidated. The work begins with the figure of a king seated upon his throne, who is addressing one of two persons standing by his side: the inscription is simply 'EDWARD REX.' It appears to be Harold taking leave. We next see Harold proceeding to Boseham attended by several followers; he carries a hawk upon his fist, at that time the distinguishing mark of nobility; his dogs are running before him: 'IBI HAROLD DVX ANGLORVM ET SVI MILITES EQVITANT AD BOSHAM.' A church is then represented, in front of which are two men who appear about to enter: above is the word 'ECCLESIA.' This church is Boseham in Sussex. The party next appear feasting at a table in a house, previous to their embarkation. Some persons are descending the steps from the apartment where they have been dining; others are embarking in four vessels. Harold enters first, still bearing the hawk and carrying a dog under his arm. These last-mentioned figures are wading through the water, naked from the waist downwards: 'HIC HAROLD MARE NAVIGAVIT ET VELIS VENTO PLENIS VENIT IN TERRAM WIDONIS COMITIS.' The last of the four vessels next appears anchoring in France, Harold standing at the prow: his name HAROLD' above. Three figures are then represented upon land; one of them is Harold in the act of being seized by order of Guy Earl of Ponthieu, who is on horseback, followed by his people: 'HIC APPREHENDIT WIDO HAROLDVM ET DVXIT EVM AD BELREM ET IBI EVM TENVIT.' Harold and Guy are next seen mounted upon their horses, and attended both by Saxon and Norman soldiers. The Saxons are distinguished by wearing mustachios; the Normans have none. Harold and Guy appear in conversation, VBI HAROLD ET WIDO PARABOLANT:' when messengers arrive from William Duke of Normandy to the Earl of Ponthieu VBI NVNTII WILIELMI DVCIS VENERVNT AD WIDONEM.' Between the Earl of Ponthieu who is seated, and his guards who receive the messengers, a tree divides the subject, as other trees, in like manner, divide all the principal events throughout the work. A dwarf, with the name of TVROLD' above, holds the horses of Duke William's messengers. William's messengers are again represented on horseback, bearing shields; 'NVNTII WILIELMI.' Next is a Saxon messenger mustached, kneeling to William on his ducal seat: HIC VENIT NVNCIVS AD WILGELMVM DVCEM.' Guy is seen immediately after, conducting Harold to the duke: 'HIC WIDO ADDVXIT HAROLDVM AD WILGELMVM NORMANNO RVM DVCEM.' William meets them, and returns with Harold to his palace: HIC DUX WILGELM CVM HAROLDO VENIT AD PALATIUM SVVM.' We have then a female figure within the door of a church, and a priest, and beneath them the words 'VNVS CLERICVS ET ELFGYVA.' Mr. Douce says evidently Adeliza, William's daughter, who was affianced to Harold. The next event is William's warfare with Conan Earl of Bretagne, in which it is apparent Harold assisted and rendered essential service to the Norman party: 'HIC WILLEM DVX ET EXERCITVS EIVS VENERVNT AD MONTEM MICHAELIS.' Soldiers, mounted on horseback, arrive at Mount St. Michael and pass the river Cosno: 'ET HIC TRANSIERVNT FLVMEN COSNONIS ET VENERVNT AD DOL.' Harold is depicted among them, assisting some persons who had fallen into the quicksands while passing the river: 'HIC HAROLD DVX TRAHEBAT EOS DE ARENA.' We have then the words 'ET CONAN FVGA VERTIT.' Conan is seen escaping from Dol and descending the walls by a rope. Troops are flying and approach Rennes : 'REDNES.' The Norman soldiers are next employed in attacking Dinant: HIC MILITES WILLELMI DVCIS PVGNANT CONTRA DINANTES.' Conan delivers up to them the keys of the town, which they succeed in taking: 'ET CVNAN CLAVES PORREXIT.' After this event William rewards the services of Harold by giving him a suit of armour: HIC WILLELM DEDIT HAROLDO ARMA.' William and his party then arrive at Bayeux; 'HIC WILLELM VENIT BAGIAS.' Is is said that William, in order to secure to himself the succession of the Saxon throne, without having Harold for a competitor, caused him to take a solemn vow that he would never attempt the possession of the English crown: this vow he obliged Harold (then within his power) to make upon a covered altar, beneath which William had placed the most sacred and precious relics. No sooner had Harold ARTS AND SCI. DIV. VOL. II. sworn the oath, than the Norman duke uncovered the altar, and by showing him what sacred things he had vowed, enforced upon his mind the blasphemy he would be guilty of, if he ever attempted the violation of his oath. Harold is represented taking the oath, while standing between two covered altars : VBI HAROLD SACRAMENTVM FECIT WILLELMO DVCI.' Harold next embarks for England: 'HIC HAROLD DVX REVERSVS EST AD ANGLICAM TERRAM ET VENIT AD EDWARDVM REGEM;' and is immediately after represented as relating the events of his journey to the Saxon king. The next subject is the death and funeral of Edward the Confessor. The funeral procession comes first: 'HIC PORTATVR CORPVS EADWARDI REGIS AD ECCLESIAM PETRI APOSTOLI.' The king is then represented in his bed, giving his last directions to the officers of his court: his wife Editha weeping by his side: HIC EADWARDVS REX ALLOQVIT FIDELES.' Beneath he is represented dead and laid out: 'ET HIC DEFVNCTVS EST.' The next subject is the crown offered to Harold by the people: 'HIC DEDERVNT HAROLDO CORONAM REGIS.' Harold then appears upon his throne, Stigand, Archbishop of Canterbury, at his side: HIC RESIDET HAROLD REX ANGLORVM. STIGANT ARCHIEPISCOPVS.' The subject that follows is the appearance of a comet, at which the people are gazing: ‘ISTI MIRANT STELLAM.' Harold is seen below it, listening to a person who has approached him: his name above, 'HAROLD.' Boats are represented in the border beneath. The next subject which the tapestry represents is a ship, bringing to William the news of Harold's having assumed the English crown: HIC NAVIS ANGLICA VENIT IN TERRAM WILLELMI DVCIS.' William and his halfbrother, Odo, bishop of Bayeux (distinguishable by the tonsure), appear consulting together and giving orders that ships should be built for the purposed invasion of England: 'HIC WILLÈLM DVX IVSSIT NAVES EDIFICARE. Accordingly several persons are next represented as employed in cutting down trees; carpenters are constructing vessels, and others draw them into the sea: HIC TRAHVNT NAVES AD MARE.' The embarkation of the Normans forms the succeeding subject; they carry with them on board the ships wine, arms, and provisions: 'ISTI William going to his own vessel is next represented: 'HIC WILLELM DVX IN MAGNO NAVIGIO.' Numerous ships are then seen passing the sea, loaded with troops and horses, and William arrives in Pevensey bay (his own vessel known by the figure of a boy holding a pennon at the stern; it bears a lantern at the mast): MARE TRANSIVIT ET VENIT AD PEVENESE. The troops and horses next appear disembarking: they proceed to Hastings, where they seize provisions: 'HIC EXEVNT CIBVM RAPERENTVR.' A figure on horseback, bearing a pennon at the end of his lance, is here distinguished by the words HIC EST WADARD.' The Normans are now busied in cooking meats and regaling themselves: 'HIC COQVITVR CARO ET HIC MINISTRAVERVNT MINISTRI. HIC FECERVNT PRANDIVM.' The soldiers dine upon their shields. Odo seated at a table, with William on his right hand, bestows his benediction on the viands: ET HIC EPISCOPVS CIBVM ET POTVM BENEDICIT.' William, with Odo and Robert Earl of Mortaigne, are seated under a canopy: ODO EPISCOPVS. WILLELM. ROTBERTVS.' A figure carrying a pennon then appears giving orders that the army should encamp at Hastings: ISTE IVSSIT Vt FoderetvR CASTELLVM AT HESTENGA.' The camp forming : CASTRA.' William appears directing the building PORTANT ARMAS AD NAVES ET TRAHVNT CARRVM CVM VINO ET ARMIS." CABALLI DE NAVIBVS ET HIC MILITES FESTINAVERVNT HASTINGA VT WILLELM DVX of a castle. The news is then brought to William that Harold is advancing to oppose the Normans; William on a raised seat: 'HIC NVNTIATVM EST WILLELMO DE HAROLD.' Two Normans setting fire to a house; a woman and child escaping from it: HIC DOMVS INCENDITVR.' The soldiers of William leave Hastings to meet Harold in the field; and the duke now, for the first time since his arrival, appears in armour the march of the horsemen: HIC MILITES EXIERVNT DE HESTENGA ET VENERVNT AD PRELIVM CONTRA HAROLDVM REGEM.' Odo is represented bearing a mace, but preceded by William on horseback with a club, who interrogates Vitalis, an individual of his army, also on horseback, whether he has seen Harold's forces: INTERROGAT VITAL. SI VIDISSET EXERCITVM HAROLDI.' Harold also receives information relative to William's force: ISTE NVNTLAT HAROLDVM DE EXERCITV WILLELMI DVCIS.' William then addresses his soldiers, who are proceeding onward to the battle: 'HIC WILLELM DVX ALLOQVITVR SVIS MILITIBVS VT PREPARARENT SE VIRILITER ET SAPIENTER AD PRELIVM CONTRA ANGLORVM EXERCITVM.' The Normans approach, mostly on horseback, but intermixed with archers on foot. The battle now ensues, in which the Saxons are chiefly on foot, their shields distinguished from those of the Normans by being usually round with a boss in the centre. Lewine and Gyrth, the brothers of Harold, are slain: HIC CECIDERVNT LEWINE ET GYRTH FRATRES HAROLDI REGIS.' The obstinacy of the contest is next represented: 'HIC CECIDERVNT SIMVL ANGLI ET FRANCI IN PRELIO.' Odo is now represented charging full speed and striking at a horseman with a club or mace: 'HIC ODO EPISCOPVS BACVLVM TENENS CONFORTAT PVEROS.' This probably means that Odo had to encourage the troops, upon a report that William was slain. The battle continues; HIC EST WILLELM DVX.' The duke appears showing himself and giving orders: HIC FRANCI PVGNANT ET CECIDERVNT QUI ERANT CVM HAROLDO.' The death of Harold, the standard carried before whom appears to be a dragon. We have then the discomfiture and flight of the Saxons. Here the tapestry ends with figures of persons retreating in great haste; not с |