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.—A. W. Thayer, Beethovens Leben (1866–1879); L. Nohl, Life of Beethoven (Eng. trans., 1884), and Letters (Eng. trans., 1866); Sir G. Grove, Beethoven and his Symphonies (1896), and in Grove’s Dictionary of Music.

 BEETLE (O. Eng. bityl; connected with “bite”), a name commonly applied to those insects which possess horny wing-cases; it is used to denote the es (q.v.) (black beetles), as well as the true beetles or  (q.v.), the two belonging to different orders of Insecta.

The adjective “beetle-browed,” and similarly “beetling” (of a cliff), are derived from the name of the insect. From another word (O. Eng. betel, connected with “beat”) comes “beetle” in the sense of a mallet, and the “beetling-machine,” which subjects fabrics to a hammering process.

 BEETS, NIKOLAAS (1814–1903), Dutch poet, was born at Haarlem on the 13th of September 1814; constant references in his poems and sketches show how deeply the beauty of that town and its neighbourhood impressed his imagination. He studied theology in Leiden, but gave himself early to the cultivation of poetry. In his youth Beets was entirely carried away on the tide of Byronism which was then sweeping over Europe, and his early works—Jose (1834), Kuser (1835) and Guy de Vlaming (1837)—are gloomy romances of the most impassioned type. But at the very same time he was beginning in prose the composite work of humour and observation which has made him famous, and which certainly had nothing that was in the least Byronic about it. This was the celebrated Camera Obscura (1839), the most successful imaginative work which any Dutchman of the 18th century produced. This work, published under the pseudonym of “Hildebrand,” goes back in its earliest inception to the year 1835, when Beets was only twenty-one. It consists of complete short stories, descriptive sketches, studies of peasant life—all instinct with humour and pathos, and written in a style of great charm; it has been reprinted in countless editions. Beets became a professor at the university of Leiden, and the pastor of a congregation in that city. In middle life he published further collections of verse—Cornflowers (1853) and New Poems (1857)—in which the romantic melancholy was found to have disappeared, and to have left in its place a gentle sentiment and a depth of religious feeling. In 1873–1875 Beets collected his works in three volumes. In April 1883 the honorary degree of LL.D. Edin. was conferred upon him. He died at Utrecht on the 13th of March 1903.

 BEFANA (Ital., corrupted from Epifania, Epiphany), the Italian female counterpart of Santa Claus, the Christmas benefactor (St Nicholas). On Epiphany, or Twelfth Night, she plays the fairy godmother to the children, filling their stockings with presents. Tradition relates that she was too busy with house duties to come to the window to see the Three Wise Men of the East pass on their journey to pay adoration to the Saviour, excusing herself on the ground that she could see them on their return. They went back another way, and Befana is alleged to have been punished by being obliged to look for them for ever. Her legends seem to be rather mixed, for in spite of her Santa Claus character, her name is used by Italian mothers as a bogey to frighten the babies. It was the custom to carry her effigy through Italian towns on the eve of the Epiphany.

 BEFFROY DE REIGNY, LOUIS ABEL (1757–1811), French dramatist and man of letters, was born at Laon on the 6th of November 1757. Under the name of “Cousin Jacques” he founded a periodical called Les Lunes (1785–1787). The Courrier des planètes ou Correspondance du Cousin Jacques avec le firmament (1788–1792) followed. Nicodème dans la lune, ou la révolution pacifique (1790) a three-act farce, is said to have had more than four hundred representations. In spite of his protests against the evils of the Revolution he escaped interference through the influence of his brother, Louis Étienne Beffroy, who was a member of the Convention. Of La Petite Nanette (1795) and several other operas he wrote both the words and the music. His Dictionnaire néologique (3 vols., 1795–1800) of the chief actors and events in the Revolution was interdicted by the police and remained incomplete. Beffroy spent his last years in retirement, dying in Paris on the 17th of December 1811.

 BEGAS, KARL (1794–1854), German historical painter, was born at Heinsberg near Aix-la-Chapelle. His father, a retired judge, destined him for the legal profession, but the boy’s tastes pointed definitely in another direction. Even at school he was remarked for his wonderful skill in drawing and painting, and in 1812 he was permitted to visit Paris in order to perfect himself in his art. He studied for eighteen months in the atelier of Gros and then began to work independently. In 1814 his copy of the Madonna della Sedia was bought by the king of Prussia, who was attracted by the young artist and did much to advance him. He was engaged to paint several large Biblical pictures, and in 1825, after his return from Italy, continued to produce paintings which were placed in the churches of Berlin and