BARBKB-SCRGEONS. 



RABfc 



word has thus entirely lost it- primitive and {roper mauling of <m- 

 OrwMii, or no* Kama,, and is und exclusively in that which was unoe 

 iu am iiiinr and subordinate WDM of niaV and mriri/unf. 



BAKBKR-SURGKoNS. In former time*, both in thin and other 



countries, the art of surgery and the art of shaving went hand in hand. 



he uarbirra-rliinirgiens in France, Me the ' Diction, del Origines,' 



too. i. p. 18. The; were separated from the barbiers-perruquiers in 



the time of Louis XIV., and made a distinct corporation. 



The barben of London were first incorporated by King Edward IV. 

 in 1461. Richard duke of Glouomter bring one of the founder*. At 

 that time the barben were the only person* who exercised surgery : 

 Uit afterward* others, assuming the practice of that art, formed thein- 

 arfiai into a voluntary association, which they called the Company of 

 8nrKna* of London. Theee two companies were, by an act of parlia- 

 auot passed in the Si Hen. VIII. iap xli. united and nuule one l~xly 

 eurporate, by the name of the Barber* and Surgeon* of London. This 

 art howrrer at one* united and separated the two craft*. The barbers 

 were not to practiae surgery further than drawing of teeth ; and the 

 nirgeonn were strictly prohibited from exercising " the feat or craft of 

 barbery or shaving. The surgeons were allowed yearly to take, at 

 their discretion, the bodies of four persons after execution fur felony, 

 - for their further and better knowledge, instruction, insight, learning, 

 and experience in the said science or faculty of surgery ; " and they 

 were moreover ordered to have " an open sign on the street-side where 

 they should fortune to dwell, that all the king's liege people there 

 pausing might know at all times whither to resort for remedies in time 

 of their neoearity." Four governors or masters, two of them surgeons, 

 the other two barbers, were to be elected from the body, who were to 

 aee that the respective members of the two crafts exercised their 

 falling, in the city agreeably to the spirit of the act. There wan a 

 surgical museum iu their hall when Maitlond wrote his ' HUtory of 

 London,' of which he thought very highly. 



Holbein commemorated the granting of the charter to the barber- 

 surgeonx, in a picture which is still preserved at their hall in Moiik- 

 weffstreet. 



The privileges of this company were confirmed in various subsequent 

 charters, the last bearing date the 15th of April, 5 Charles I. 



By the year 1745, it was discovered that the two arts which the 

 compauy professed were foreign to and independent of each other. 

 The barbers and the surgeons were accordingly separated by act of 

 parliament, 18 Geo. II., and made two distinct corporations. 



(Pennant's London, p. 255; Nat. of tlit Jtrtilm, vol. i. ]>. 704 ; Kd- 

 mondaon's Contpl. IM;/ / Iliralilry ; Stry|*' edit, of Stow's 

 of Lomlnn, Farringdon Ward within ) 



HA'lUUTi >N. in miui>, the name of an instrument in use among the 

 ancient* ; and that it was a kind of lyre we cannot for a moment doubt, 

 though writers on the subject seem very willing to make it a matter of 

 difficulty. M. Dacier, judging from a passage in Horace (lib. i. cann. 32), 

 conclude* that the barbiton was strung with thick flaxen cords. The 

 writer in the ' Encyclopddie Methodiqiie ' infers, from the same ode, 

 that the poet means to attribute to Alctous the invention of the instru- 

 ment, but it appears to us that he only intends to ascribe to him the 

 son of lyric poetry. M. de Castilhon is perplexed between 

 Musonius and Athentcus; the one making Terpander, the other 

 Anacreon, the inventor of the barbiton. 



BARCAKOI.I.K, in music, a kind of gong in the Venetian language, 

 sung by the gondoliers at Venice. Though these airs are composed for 

 the common people, and often by the gondoliers themselves, yd they 

 ao abound in melody, that there i- not a musician in all Italy who does 

 not pique himself on knowing and being able to sing some of them. 

 The privilege of free entrance to all the theatres in Venice, \\hidi 

 these boatmen enjoy (says Rousseau, writing in the middle of the last 

 century), enables them to cultivate their ear and taste, so that to the 

 natural nimplicity of their airs they add a degree of refinement which 

 i* by no means inconsiderable. The words of these barcarolles are 

 commonly more than natural, partaking of the language employed 

 in the conversation of those who sing them : but such as like a 

 faithful representation of the manner* of a people, and have any 

 taste for the Venetian dialect, become passionately fond both of the 

 poetry and music of these popular songs, insomuch that many persons 

 riCissesi large and curious collections of them. 



Formerly most of the gondolier* knew by heart the greater portion 

 of ' Uerusalemme Liberata ' (' Jerusalem Delivered '), and some the 

 whole poem : they passed the summer nights in their gondolas, 

 "ipgifg it in alternate stanzas. Before Tasso, Homer alone had the 

 honour to be thus sung; and no other epic poem has since been 

 equally distinguished. (Rousseau.) But Taaso is now no longer sung 

 I'.v the gondoliers ; they still have, however, their songs in response 

 to each other, improrifi, which the .common auditor may be liable 

 (and no doubt willing) to take for Taseo. The old barcarolle was 

 sung in parts, at stem and stern of the same boat, by its own KH 

 ra. 



BarrartJIf. or Wt-song, come* to us through the French i'i.-m the 

 Italian bomir.Ja. The well known airs La Biondina in Grmdoletta,' 

 and ' rWator dell' Onde,' are pleasing specimen" of this species of 



BARD, an appellation of uncertain etymology, chiefly appropriated 

 U> the earliest poets of the Celtic tribe*. 



Ltican (lib. i. p. 447) describes the office of the bard, and gives his 



I :_. : ,:... 



Vo quoqur, qul forte* tnlBiai, brlloque peremptu 

 Lsudlbui In Ionium nttt dlmttiilu irrum, 

 I'lurimi Mcurl fudUtls eaimlna Bsrdi. 



Too, too, ye Bardi ! whom (acred rapturn fire 

 To cbiunt your hrrow to your country's lyre ; 

 Who eourente In your Immortal (train 

 Brave patriot oul In rig htcoun battle slain. HOWE. 



Tacitus use* a term, not found in any other writer, which seems 

 derived from the name of bard. He rays the Germans used songs, by 

 the recital of which, called barditus, they sought to increase the fury 

 of their warriors, and from the effect of the song drew omens ax to the 

 issue of tin- Kilning battle. (' Grrmania,' 3.) 



The information, however, which remains to us from classical sources 

 relating to the bard* is, for the most part, scanty and d< t.-u h> 1 : 

 says that the bards (00801) were singers of hymn* mid 

 the Gauls. They were, no doubt, originally spread renter 



part of Western Europe, but gave way to southern civilisation ; and it 

 in from their latest retreats only, in Wales and Ireland, that v 

 our best materials for their history. 



Warton says the bards of Britain were originally a c. 

 appendage of the IJruidie.il hierarchy. In the parish of Llanidan, in 

 the Isle of Anglesey, there are still to be seen the ruins of an arch- 

 druid'a mansion, which they call Trer Drew, that is, the Druid's 

 mansion : near it are marks of the habitations of the separate conventual 

 societies which were under his immediate orders and inspection. 

 Among these is Trrr lieiril, or, as they coll it to this day, the hamlet of 

 the bards. (Rowland's ' Mona,' pp. 88, 88.) But so strong \v 

 attachment of the Celtic nations (among which we reckon Britain) to 

 poetry, that amidst all the changes of government and manner-, 

 long after the order of Druids was extinct, and the national religion 

 altered, the bards, acquiring a sort of civil capacity and a new establish- 

 ment, still continued to nourish. And with regard to Britain, the 

 bards flourished most in those ports of it which most strongly r< 

 their native Celtic character. Amongst the Britons living in tho-i- 

 countries that were between the Trent or Humber and the Thames, by 

 far the greatest portion of this island, in the midst of the Roman 

 garrison* and colonies, we cannot discover the slightest trace, in 

 the poeniM of the bards, the lives of the British saints, or any 

 other ancient monument, that they held any correspondence with 

 the Welsh, the Cornish, the Cumbrian, or the Strathcluyd Britons. 

 Amongst other British institutions grown obsolete among them, 

 they seem to have lost that of bardx ; at least there in 

 rials of their having hod any, nor any of their songs remaining; 

 nor do the Welsh or Cumbrian poets ever touch upon any trans- 



that passed in those countries after they were rvlinquixl 

 the Romans. 



And here we see the reason why the Welsh bards flourished so much 

 and so long. But moreover the Welsh, kept in awe as they were by 

 the Romans, harassed by the Saxons, and eternally jealous of the 

 attacks, the encroachments, and the neighbourhood of aliens, were on 

 this account attached to their Celtic manners ; this situation and these 

 circumstances inspired them with a pride and an obstinacy in main 

 taining a national distinction, and in preserving their ancient usages, 

 among which the bardic profession is so eminent. (Warton, ' Hist. 

 Engl. Poet.' vol. i. Diss. 1.) This also will account for their ]>n 

 the language in common use, while at the same time the use of the 

 language has ]>erpetuated a succession of minor poets, who have not 

 altogether failed in maintaining the reputation of the older bards by 

 their power and pathos. (Dr. Thomas Price on ' The Literature of 

 Wales.') 



By the laws of Hoel Dim, given about the year 940, the Jiimid Tevla, 

 or court-bard, was a domestic officer. He occupied the eighth place in 

 the prince's court : he held his land free : the prince was to allow him 

 a horse and a woollen robe, the queen a linen garment. At the three 

 princi]nl feasts, Christmas, Easter, ami Whitsuntide, he was to sit 

 next to the prefect of the palace, who delivered the harp into his 

 hand; and at the some festivals he was to have the robe of the </iW,'. 

 or steward, for his fee. When a song was required, the bard who had 

 gained the badge of the chair (in musical contest) won first to sing a 

 hymn in glory of God, after that another in honour of the priin 

 then the Teuluwr, or bard of the hull, was to sing some other subject. 

 If the queen desired a song, the bard was to attend in her chamber. 

 When he accompanied the prince's domestic sen-ants upon a foray, ho 

 wa to have an ox or a cow given to him fioin the booty, and while the 

 prey was dividing he was to sing the praises of the I'.iiti-h monarchy. 

 He was also to sing the praise- >h monarchy at the head of 



the detachment, when drawn up for fight. This, says Pennant (' Tour 

 in Wales,' edit. 1784. vol. i. p. 461), was to remind them of their:.' 

 right to the whole kingdom ; for their inroads being almost always on 

 the Knirlish territories, they thought they did no more than seize on 

 their own. When invested with his office, the prince was to give the 

 bard a harp, and the queen a ring of gold. Some copies of Hoel Dha's 

 constitutions say a chess-board instead of a harp. Tin haip was on no 

 account to be parted with. The bard was to lodge with the pi-. 

 the palace. When he went out of the ].iloce to sing with other bards 



