Page:EB1911 - Volume 04.djvu/521

 statue of him by Drake, a memorial hall, containing a collection of his writings and busts and pictures of his famous contemporaries, has been erected.

 BRETWALDA, a word used in the Anglo-Saxon Chronicle under the date 827, and also in a charter of Æthelstan, king of the English. It appears in several variant forms (brytenwalda, bretenanwealda, &c.), and means most probably “lord of the Britons” or “lord of Britain”; for although the derivation of the word is uncertain, its earlier syllable seems to be cognate with the words Briton and Britannia. In the Chronicle the title is given to Ecgbert, king of the English, “the eighth king that was Bretwalda,” and retrospectively to seven kings who ruled over one or other of the English kingdoms. The seven names are copied from Bede’s Historia Ecclesiastica, and it is interesting to note that the last king named, Oswiu of Northumbria, lived 150 years before Ecgbert. It has been assumed that these seven kings exercised a certain superiority over a large part of England, but if such superiority existed it is certain that it was extremely vague and was unaccompanied by any unity of organization. Another theory is that Bretwalda refers to a war-leadership, or imperium, over the English south of the Humber, and has nothing to do with Britons or Britannia. In support of this explanation it is urged that the title is given in the Chronicle to Ecgbert in the year in which he “conquered the kingdom of the Mercians and all that was south of the Humber.” Less likely is the theory of Palgrave that the Bretwaldas were the successors of the pseudo-emperors, Maximus and Carausius, and claimed to share the imperial dignity of Rome; or that of Kemble, who derives Bretwalda from the British word breotan, to distribute, and translates it “widely ruling.” With regard to Ecgbert the word is doubtless given as a title in imitation of its earlier use, and the same remark applies to its use in Æthelstan’s charter.

 BREUGHEL (or ), PIETER, Flemish painter, was the son of a peasant residing in the village of Breughel near Breda. After receiving instruction in painting from Koek, whose daughter he married, he spent some time in France and Italy, and then went to Antwerp, where he was elected into the Academy in 1551. He finally settled at Brussels and died there. The subjects of his pictures are chiefly humorous figures, like those of D. Teniers; and if he wants the delicate touch and silvery clearness of that master, he has abundant spirit and comic power. He is said to have died about the year 1570 at the age of sixty; other accounts give 1590 as the date of his death.

His son, the younger (1564–1637), known as “Hell” Breughel, was born in Brussels and died at Antwerp, where his “Christ bearing the Cross” is in the museum.

Another son (c. 1569–1642), known as “Velvet” Breughel, was born at Brussels. He first applied himself to painting flowers and fruits, and afterwards acquired considerable reputation by his landscapes and sea-pieces. After residing long at Cologne he travelled into Italy, where his landscapes, adorned with small figures, were greatly admired. He left a large number of pictures, chiefly landscapes, which are executed with great skill. Rubens made use of Breughel’s hand in the landscape part of several of his small pictures—such as his “Vertumnus and Pomona,” the “Satyr viewing the Sleeping Nymph,” and the “Terrestrial Paradise.”

 BREVET (a diminutive of the Fr. bref), a short writing, originally an official writing or letter, with the particular meaning of a papal indulgence. The use of the word is mainly confined to a commission, or official document, giving to an officer in the army a permanent, as opposed to a local and temporary, rank in the service higher than that he holds substantively in his corps. In the British army “brevet rank” exists only above the rank of captain, but in the United States army it is possible to obtain a brevet as first lieutenant. In France the term breveté is particularly used with respect to the General Staff, to express the equivalent of the English “passed Staff College” (p.s.c.).

 BREVIARY (Lat. breviarium, abridgment, epitome), the book which contains the offices for the canonical hours, i.e. the daily service of the Roman Catholic Church. As compared with the Anglican Book of Common Prayer it is both more and less comprehensive; more, in that it includes lessons and hymns for every day in the year; less, because it excludes the Eucharistic office (contained in the Missal), and the special offices connected with baptism, marriage, burial, ordination, &c., which are found in the Ritual or the Pontifical. In the early days of Christian worship, when Jewish custom was followed, the Bible furnished all that was thought necessary, containing as it did the books from which the lessons were read and the psalms that were recited. The first step in the evolution of the Breviary was the separation of the Psalter into a choir-book. At first the president of the local church (bishop) or the leader of the choir chose a particular psalm as he thought appropriate. From about the 4th century certain psalms began to be grouped together, a process that was furthered by the monastic practice of daily reciting the 150 psalms. This took so much time that the monks began to spread it over a week, dividing each day into hours, and allotting to each hour its portion of the Psalter. St Benedict in the 6th century drew up such an arrangement, probably, though not certainly, on the basis of an older Roman division which, though not so skilful, is the one in general use. Gradually there were added to these psalter choir-books additions in the form of antiphons, responses, collects or short prayers, for the use of those not skilful at improvisation and metrical compositions. Jean Beleth, a 12th-century liturgical author, gives the following list of books necessary for the right conduct of the canonical office:—the Antiphonarium, the Old and New Testaments, the Passionarius (liber) and the Legendarius (dealing respectively with martyrs and saints), the Homiliarius (homilies on the Gospels), the Sermologus (collection of sermons) and the works of the Fathers, besides, of course, the Psalterium and the Collectarium. To overcome the inconvenience of using such a library the Breviary came into existence and use. Already in the 8th century Prudentius, bishop of Troyes, had in a Breviarium Psalterii made an abridgment of the Psalter for the laity, giving a few psalms for each day, and Alcuin had rendered a similar service by including a prayer for each day and some other prayers, but no lessons or homilies. The Breviary rightly so called, however, only dates from the 11th century; the earliest MS. containing the whole canonical office is of the year 1099 and is in the Mazarin library. Gregory VII. (pope 1073–1085), too, simplified the liturgy as performed at the Roman court, and gave his abridgment the name of Breviary, which thus came to denote a work which from another point of view might be called a Plenary, involving as it did the collection of several works into one. There are several extant specimens of 12th-century Breviaries, all Benedictine, but under Innocent III. (pope 1198–1216) their use was extended, especially by the newly founded and active Franciscan order. These preaching friars, with the authorization of Gregory IX., adopted (with some modifications, e.g. the substitution of the “Gallican” for the “Roman” version of the Psalter) the Breviary hitherto used exclusively by the Roman court, and with it gradually swept out of Europe all the earlier partial books (Legendaries, Responsories), &c., and to some extent the local Breviaries, like that of Sarum. Finally, Nicholas III. (pope 1277–1280) adopted this version both for the curia and for the basilicas of Rome, and thus made its position secure. The Benedictines and Dominicans have Breviaries of their own. The only other types that merit notice are:—(1) the Mozarabic Breviary, once in use throughout all Spain, but now confined to a single foundation at Toledo; it is remarkable for the number and length of its hymns, and for the fact that the majority of its collects are addressed to God the Son; (2) the Ambrosian, now confined to Milan, where it owes its retention to the attachment of the clergy and people to their traditionary rites, which they derive from St Ambrose (see ). 