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 immediately vnder God, the supreme power and authoritie of the Churches of Englande and Ireland. So be it. Anno 1559.' The dedication is addressed to the Marquis of Northampton. The 'Register of Martyrs' extends from 4 Feb. 1555 to 17 Nov. 1558, and consists of seventy-seven six-line doggerel stanzas. Foxe clearly found the 'Register' of use to him in the compilation of his 'Acts and Monuments.' A fine religious poem entitled 'The Wishes of the Wise,' in twenty verses of four lines each, concludes the work. The original edition was printed by Richard Adams, and he was fined by the Stationers' Company for producing it without license. Another surreptitious edition appears to have been issued about the same time, but of that no copy has survived. A second edition was 'newly imprinted at the earnest request of divers godly and well-disposed citizens' in 1597. Several extracts from the book appear in the Parker Society's 'Devotional Poetry of the Reign of Elizabeth' (161, 175), and the whole is reprinted in Arber's 'Garner,' iv. 143 et seq. Two other books are assigned to Brice in the Stationers' Registers, but nothing is now known of either of them. The first is 'The Courte of Venus moralized,' which Hugh Singleton received license to print about July 1567; the second is 'Songs and Sonnettes,' licensed to Henry Bynnemon in 1568. In 1570 John Allde had license to print 'An Epitaphe on Mr. Brice,' who may very probably be identified with the author of the 'Register.'

 BRICIE, BRICIUS, or BRIXIUS (d. 1222), bishop of Moray, was a cadet of the noble house of Douglas, his mother being sister to Friskinus de Kerdal of Kerdal on the river Spey. He was the second prior of Lesmahagow, and in 1203 was elevated to the bishopric of Moray. His application to Pope Innocent III caused the cathedral of the see to be fixed at Spynie. He also founded the College of Canons. He is said to have attended a council at Rome in 1215. He died in 1222 and was buried at Spynie. According to Dempster he was the author of 'Super Sententias' and of 'Homiliæ.'

 BRICMORE, BRICHEMORE, or BRYGEMOORE, H—— (14th cent.), surnamed, an obscure scholastic of the fourteenth century, is stated to have lived at Oxford, and to have written commentaries on some of the works of Aristotle (, Commentarii de Scriptoribus Britannicis, cap. ccclvi. p. 340). He is probably the same person with, of whom Leland rives a very similar description (cap. dxiii. p. 429); at least the identification has been handed down from Bale, x. 89, and Pits, append. 41, p. 828, to Tanner (Bibl Brit. p. 124). That Bricmore had a certain celebrity in his day is shown by the fact that some 'Notulæ secundum H. Brygemoore' appear in a manuscript of Corpus Christi College, Oxford, ccxxx. f. 33 (, Catal. ii. 93 6) in connection with extracts from Walter Burley and others of the great schoolmen. The only account of his life is contained in Dempster (Historia Ecclesiastica Gentis Scotorum, ii. 178, p. 100, Bologna 1627), who states that Bricmore was one of a number of Scots sent to the university of Oxford by decree of the council of Vienne, and that he was a canon of Holy Rood, Edinburgh. Dempster adds that he died in England in 1382, but gives as his authority for this the continuator of John of Fordun, which appears, however, to be a false reference, and the date is scarcely compatible with the mention of the council which was held seventy years earlier.

 BRIDE,. [See .]

 BRIDELL, FREDERICK LEE (1831–1863), landscape painter, was born at Southampton 7 Nov. 1831, and was the son of a builder in that town. It was intended that he should follow his father's business, but his impulse towards art was irresistible, and, without having received any regular instruction, he began to paint portraits at the age of fifteen. His performances attracted the attention of a picture cleaner and dealer visiting Southampton, who induced him to become his apprentice for seven years. During this period Bridell continued to study painting by his own unaided efforts, and produced a number of landscapes in the manner of the old masters, which became the property of his employer. In 1851, his first exhibited picture, 'A Bit in Berkshire,' was hung at the Royal Academy. In 1853 his engagement was renewed for seven years on condition of his being sent to the continent to study, his time being jealously accounted for, and his work remaining mortgaged to his master. After a short stay at Paris he established himself at Munich, where he contracted friendships with Piloty and other eminent painters. Here he perfected himself