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 bishop of Dol. He appears to have striven earnestly to do something for the education of the ignorant inhabitants of Brittany but his efforts were not very successful, and he soon abandoned the task. In 1116 he attended the Lateran council, and in 1119 the council of Reims, after which he paid a visit of two years’ duration to England. Returning to France he neglected the affairs of his diocese, and passed his time mainly at St Samson-sur-Risle in Normandy. He died on the 5th or 7th of January 1130.

Baudry wrote a number of Latin poems of very indifferent quality. The most important of these, from the historical point of view, have been published in the Historiae Francorum Scriptores, tome iv., edited by A. Duchesne (Paris 1639–1649). Baudry’s prose works are more important. The best known of these is his Historiae Hierosolymitanae, a history of the first crusade from 1095 to 1099. This is a history in four books, the material for which was mainly drawn from the anonymous Gesta Francorum, but some valuable information has been added by Baudry. It was very popular during the middle ages, and was used by Ordericus Vitalis for his Historiae ecclesiasticae; by William, archbishop of Tyre, for his Belli sacri historia; and by Vincent of Beauvais for his Speculum historiale. The best edition is that by C. Thurot, which appears in the Recueil des historiens des croisades, tome iv. (Paris, 1841–1887), Other works probably by Baudry are Epistola ad Fiscannenses monachos, a description of the monastery of Fécamp; Vita Roberti de Arbrissello; Vita S. Hugonis archiepiscopi Rothomagensis; Translatio capitis Gemeticum et miracula S. Valentini martyris; Relatio de scuto et gladio, a history of the arms of St. Michael; and Vita S. Samsonis Dolensis episcopi. Other writings which on very doubtful authority have been attributed to Baudry are Acta S. Valeriani martyris Trenorchii; De visitatione infirmorum; Vita S. Maglorii Dolensis episcopi et Vita S. Maclovii, Alectensis episcopi; De revelatione abbatum Fiscannensium; and Confirmatio bonorum monasterii S. Florentii. Many of these are published by J. P. Migne in the Patrologia Latina, tomes 160, 162 and 166 (Paris 1844).

 BAUDRY, PAUL JACQUES AIMÉ (1828–1886), French painter, was born at La Roche-sur-Yonne (Vendée). He studied under Drolling, a sound but second-rate artist, and carried off the Prix de Rome in 1850 by his picture of “Zenobia found on the banks of the Araxes.” His talent from the first revealed itself as strictly academical, full of elegance and grace, but somewhat lacking originality. In the course of his residence in Italy Baudry derived strong inspiration from Italian art with the mannerism of Coreggio, as was very evident in the two works he exhibited in the Salon of 1857, which were purchased for the Luxembourg: “The Martyrdom of a Vestal Virgin” and “The Child.” His “Leda,” “St John the Baptist,” and a “Portrait of Beulé,” exhibited at the same time, took a first prize that year. Throughout this early period Baudry commonly selected mythological or fanciful subjects, one of the most noteworthy being “The Pearl and the Wave.” Once only did he attempt an historical picture, “Charlotte Corday after the murder of Marat” (1861), and returned by preference to the former class of subjects or to painting portraits of illustrious men of his day—Guizot, Charles Garnier, Edmond About. The works that crowned Baudry’s reputation were his mural decorations, which show much imagination and a high artistic gift for colour, as may be seen in the frescoes in the Paris Cour de Cassation, at the château of Chantilly, and some private residences—the hôtel Fould and hôtel Paiva—but, above all, in the decorations of the foyer of the Paris opera house. These, more than thirty paintings in all, and among them compositions figurative of dancing and music, occupied the painter, for ten years. Baudry died in Paris in 1886. He was a member of the Institut de France, succeeding Jean Victor Schnetz. Two of his colleagues, Dubois and Marius Jean Mercie, co-operating with his brother, Baudry the architect, erected a monument to him in Paris (1890). The statue of Baudry at La Roche-sur-Yonne (1897) is by Gérôme.

 BAUER, BRUNO (1809–1882), German theologian and historian, was born on the 6th of September 1809, the son of a painter in a porcelain factory, at Eisenberg in Saxe-Altenburg. He studied at Berlin, where he attached himself to the “Right” of the Hegelian school under P. Marheineke. In 1834 he began to teach in Berlin as a licentiate of theology, and in 1839 was transferred to Bonn. In 1838 he published his Kritische Darstellung der Religion des Alten Testaments (2 vols.), which shows that at that date he was still faithful to the Hegelian Right. Soon afterwards his opinions underwent a change, and in two works, one on the Fourth Gospel, Kritik der evangelischen Geschichte des Johannes (1840), and the other on the Synoptics, Kritik der evangelischen Geschichte der Synoptiker (1841), as well as in his Herr Hengstenberg, kritische Briefe über den Gegensatz des Gesetzes und des Evangeliums, he announced his complete rejection of his earlier orthodoxy. In 1842 the government revoked his license and he retired for the rest of his life to Rixdorf, near Berlin. Henceforward he took a deep interest in modern history and politics, as well as in theology, and published Geschichte der Politik, Kultur und Aufklärung des 18ten Jahrhunderts (4 vols. 1843–1845), Geschichte der französischen Revolution (3 vols. 1847), and Disraelis romantischer und Bismarcks socialistischer Imperialismus (1882). Other critical works are: a criticism of the gospels and a history of their origin, Kritik der Evangelien und Geschichte ihres Ursprungs (1850–1852), a book on the Acts of the Apostles, Apostelgeschichte (1850), and a criticism of the Pauline epistles, Kritik der paulinischen Briefe (1850–1852). He died at Rixdorf on the 13th of April 1882. His criticism of the New Testament was of a highly destructive type. David Strauss in his Life of Jesus had accounted for the Gospel narratives as half-conscious products of the mythic instinct in the early Christian communities. Bauer ridiculed Strauss’s notion that a community could produce a connected narrative. His own contention, embodying a theory of C. G. Wilke (Der Urevangelist, 1838), was that the original narrative was the Gospel of Mark; that this was composed in the reign of Hadrian; and that after this the other narratives were modelled by other writers. He, however, “regarded Mark not only as the first narrator, but even as the creator of the gospel history, thus making the latter a fiction and Christianity the invention of a single original evangelist” (Pfleiderer). On the same principle the four principal Pauline epistles were regarded as forgeries of the 2nd century. He argued further for the preponderance of the Graeco-Roman element, as opposed to the Jewish, in the Christian writings. The writer of Mark’s gospel was “an Italian, at home both in Rome and Alexandria”; that of Matthew’s gospel “a Roman, nourished by the spirit of Seneca”; the Pauline epistles were written in the West in antagonism to the Paul of the Acts, and so on. Christianity is essentially “Stoicism triumphant in a Jewish garb.” This line of criticism has found few supporters, mostly in the Netherlands. It certainly had its value in emphasizing the importance of studying the influence of environment in the formation of the Christian Scriptures. Bauer was a man of restless, impetuous activity and independent, if ill-balanced, judgment, one who, as he himself perceived, was more in place as a free-lance of criticism than as an official teacher. He came in the end to be regarded kindly even by opponents, and he was not afraid of taking a line displeasing to his liberal friends on the Jewish question (Die Judenfrage, 1843).

 BAUERNFELD, EDUARD VON (1802–1890), Austrian dramatist, was born at Vienna on the 13th of January 1802. Having