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 Jacob III. of Courland, who bestowed upon him a small estate, which Biren’s father inherited and where Biren himself was born. He received what little education he had at the academy of Königsberg, from which he was expelled for riotous conduct. In 1714 he set out to seek his fortune in Russia, and unsuccessfully solicited a place at the shabby court of the princess Sophia Charlotte, the consort of the tsarevich Alexius. Returning to Mittau, he succeeded in gaining a footing at court there through one of his sisters, who was the fancy of the ruling minister, Peter Bestuzhev, whose established mistress was no less a person than the young duchess Anne Ivanovna. During his patron’s absence, Biren, a handsome, insinuating fellow, succeeded in supplanting him in the favour of Anne, and procuring the disgrace and banishment of Bestuzhev and his family. From henceforth to the end of her life Biren’s influence over the duchess was paramount. On the elevation of Anne to the Russian throne in 1740, Biren, who had in the meantime married a Fräulein von Treiden, came to Moscow, and honours and riches were heaped upon him. At the coronation (19th May) he was made grand-chamberlain, a count of the empire, on which occasion he is said to have adopted the arms of the French ducal house of Biron, and was presented with an estate at Wenden with 50,000 crowns a year. He soon made himself cordially detested by Russians of every class. He was not indeed the monster of iniquity he is popularly supposed to have been. His vices were rather of the sordid than of the satanic order. He had insinuating manners and could make himself very agreeable if he chose; but he was mean, treacherous, rapacious, suspicious and horribly vindictive. During the latter years of Anne’s reign, Biren increased enormously in power and riches. His apartments in the palace adjoined those of the empress, and his liveries, furnitures and equipages were scarcely less costly than hers. Half the bribes intended for the Russian court passed through his coffers. He had landed estates everywhere. A special department of state looked after his brood mares and stallions. The magnificence of his plate astonished the French ambassador, and the diamonds of his duchess were the envy of princes. The climax of this wondrous elevation was reached when, on the extinction of the line of Kettler, the estates of Courland, in June 1737, elected him their reigning duke. He was almost as much loathed in Courland as in Russia; but the will of the empress was the law of the land, and large sums of money, smuggled into Courland in the shape of bills payable in Amsterdam to bearer, speedily convinced the electors. On her death-bed Anne, very unwillingly and only at his urgent entreaty, appointed him regent during the minority of the baby emperor, Ivan VI. Her common-sense told her that the only way she could save the man she loved from the vengeance of his enemies after her death was to facilitate in time his descent from his untenable position. Finally, on the 26th of October 1740, a so-called “positive declaration” signed by 194 dignitaries, in the name of the Russian nation, conferred the regency on Biren.

Biren’s regency lasted exactly three weeks. At midnight of the 19th of November 1740 he was seized in his bedroom by his ancient rival, Field Marshal Münnich. The commission appointed to try his case condemned him (11th of April 1741) to death by quartering, but this sentence was commuted by the clemency of the new regent, Anna Leopoldovna, the mother of Ivan VI., to banishment for life at Pelin in Siberia. All Biren’s vast property was confiscated, including his diamonds, worth £600,000. For twenty-two years the ex-regent disappeared from the high places of history. He re-emerges for a brief moment in 1762, when the philo-German Peter III. summoned him to court. He was now too old to be in any one’s way, and that, no doubt, was the reason why Catherine II. re-established him (1763) in his duchy, which he bequeathed to his son Peter. Misfortune had chastened him, and the last years of his rule were just and even benevolent, if somewhat autocratic. He died at Mittau, his capital, on the 28th of December 1772.

See Robert Nisbet Bain, The Pupils of Peter the Great (London, 1897); Christoph Hermann von Manstein, Memoirs (Eng. ed., London, 1856); Claudius Rondeau, Diplomatic Dispatches from Russia (St Petersburg, 1889–1892).

 BIRETTA (Ital. berretta, Med. Lat. biretum, birettum, dim. of birrus, “a hooded cloak”; from the Fr. form barrette is derived the Eng. “barret-cap”), a cap worn by the Catholic clergy. It is square and stiff, being made of a framework of cardboard covered with cloth or silk; on the top, along the sutures of the stuff, are three or four raised, board-like, arched ridges, at the junction of which in the centre is a knob or tassel (floccus). Its colour varies with the rank of the wearer, that of the pope being white, of the cardinals red, of bishops purple, and of the lower clergy black. It is not in the strictest sense a liturgical head-dress, its use not being confined to liturgical functions. In these functions, moreover, its use is strictly limited; e.g. it is worn at low masses by the priest only when he goes to and from the altar, at high masses also when the celebrant sits during the singing of the Kyrie, Gloria and Creed, and at processions when these take place outside the church and are not sacramental, and so on.

Though the form of the biretta, devised in the 17th century, is peculiar to the Roman Church, it is but a variant of the original biretum, which developed in various countries into head-coverings of different shapes and significance. At the outset there was little to distinguish the biretum from the pileus or pileolus (skull-cap), a non-liturgical cap worn by dignitaries of the Church under the mitre and even under the biretta. When the word biretum first appears in the 13th century, it practically means no more than “cap,” and is used as a synonym of pileus. As an ecclesiastical vestment the cap can be traced, under the name of pileus, to the 12th century; under that of infula, to the end of the 10th. It would seem to have been worn by the cantors as a protection against cold. The same utilitarian reason led to its introduction among the clergy generally. Thus in 1243 Pope Innocent IV. granted leave to the Benedictines of St Augustine’s at Canterbury, and to those of Winchester, to wear the pileus in choir. With the extension of its use, too, the custom grew up (c. 1300) of investing clerks with the biretum as the symbol of the transfer of a benefice, a custom which survives, in Roman Catholic countries, in the solemn delivery of the red biretta by the head of the state to newly created cardinals, who afterwards go to Rome to receive the red hat. This red biretta is called the zucchetto.

This use of the biretum as a symbol of office or dignity was not confined to the clergy. With various modifications of form it was worn by all persons of standing, e.g. barons, judges, and doctors and masters of the universities. The biretum was also used in the investiture of laymen with office, e.g. a duke or the prefect of the city of Rome (Du Cange, Gloss. s.v. birretum). The “cap of maintenance” or “cap of estate,” still borne before the British sovereign on state occasions, is a barret-cap of the type of the 14th and 15th centuries; it is of crimson velvet, turned up with ermine. By the 16th century the barret-cap had become the common head-gear of all people of substance, men and women. It was flat, square or round, sometimes with edges that could be turned up or down according to convenience, and was often elaborately decorated. By the 17th century it had given place in ordinary civil life to the brimmed hat; but in various shapes it still survives as official head-gear in many European countries: the Barett, worn in church by the Lutheran clergy, in the courts by German lawyers, and by the deans and rectors of the universities, the barrette of French judges and barristers, the “black cap” of the English judge, and the “college cap” familiar in English and American universities, and vulgarly known as the “mortar-board.”

Meanwhile the ecclesiastical developments of the biretum are not without interest and significance. Originally this had been a round cap, low or moderately high, slightly bulging out at the top, and ornamented with a round knob. By the 16th century, both in England and on the continent, a tendency had begun to emphasize the ridges of the sutures and thus produce a square shape. Henceforth the evolution followed different lines. In England, in the 17th century, the square flat top began to be