of many of Bach's organ works, and completed with rare skill the last unfinished fugue from that master's Art of Fugue. (See BACH.) He also published an authoritative edition, with critical notes and special studies, of Bach's Well-tempered Clavichord. His original compositions consist of a Konzertstück for piano and orchestra (which won the Rubinstein prize); a concerto for piano and orchestra with a choral finale; a concerto for violin and orchestra; a symphonic poem, Pojohla's Tochter; two suites for orchestra; a Lustspiel-Ouverture; music to Schiller's Turandot; two string quartets; a suite for 'cello; a serenade for 'cello; two violin sonatas; variations and fugue on Chopin's Prelude in C minor; and many compositions for piano. An opera, Die Brautwahl, was produced in 1912 in Hamburg with considerable success. That Busoni is also a serious and original thinker about his art he has shown by his book Entwurf einer neuen Aesthetik der Tonkunst (1907), which also appeared in an English translation by Th. Baker (1911). After a phenomenally successful tour of Italy in 1913 he accepted the directorship of the Conservatory at Bologna, a post carrying with it the conductorship of the symphony concerts and the supervision of music generally. At the same time the French Academy made him Chevalier of the Legion of Honor, a distinction heretofore conferred upon only two Italians, Rossini and Verdi. BUS'RA. See BASRA.

BUSSA, boos'sȧ. See BUSSANG. BUS'SANG. A town of Central Africa, in the British Protectorate of Northern Nigeria. It is situated on an island of the Niger and is surrounded by a wall. Its population is estimated at about 12,000. Mungo Park met his death here in the whirlpools along the right bank.

BUSSANGO. See BORGU.

BUSSEY, bus'i, BENJAMIN (1757-1842). An American merchant and philanthropist, born in Canton, Mass. He served as a private soldier throughout the Revolutionary War; then began business in Boston, and accumulated a large fortune, which he bequeathed to Harvard University-one-half for the support of the law and divinity schools and one-half for the foundation of the Bussey Institute, a school of agriculture and horticulture, for which special object he gave a large farm near Boston. His total bequest was estimated at $350,000.

BUSSEY, CYRUS (1833-1915). An American soldier, born at Hubbard, Ohio. He early became interested in politics, entered the Iowa Senate as a Democrat, and in 1860 was a delegate to the Baltimore convention which nominated Stephen A. Douglas for President. He served throughout the Civil War, in 1865 commanding the third division of the Seventh Army Corps, with the rank of major general; during the siege of Vicksburg he had been chief of cavalry in General Grant's army. He carried on, for some time after the war, a commission business in St. Louis and New Orleans, was Assistant Secretary of the Interior in 1889-93, and after that was engaged in law practice. He was commander of the District of Columbia Commandery, Military Order of the Loyal Legion of the United States, in 1911-12.

BUSSLER, bus'ler, LUDWIG (1838-1901). A German musical theorist and critic, born in Berlin. He was a pupil of Grell, Dehn, and Wieprecht, was for some time a musical director

at Memel in East Prussia, and later became an instructor in various conservatories in Berlin. In 1883 he was appointed musical critic of the Berlin National-Zeitung. He published a number of valuable textbooks, including Musikalische Elementarlehre (1867; 7th ed., 1897); Kontrapunkt und Fuge im freien Tonsatz (1878); Musikalische Formenlehre (1878; 2d ed., 1894); Kompositionslehre (2 parts, 1878-79); a Geschichte der Musik (1882); and a Lexikon der musikalischen Harmonien (1889).

BUSSONE, bōōs-sō'nâ, FRANCESCO. See CARMAGNOLA.

BUSSORA, bus'so-rå. See BASRA.

BUSSU (bus'soo) PALM (native Brazilian name) (Manicaria saccifera). A South American palm, growing in the tidal swamps of the Amazon. The stem is 10 to 15 feet high, curved or crooked and deeply ringed. The leaves are simple or undivided and are the largest of the kind produced by any known palm, being often 30 feet long and 4 or 5 feet wide. The flower clusters are branched, drooping, and the fruit is of an olive color, large, hard, and three-seeded. The leaves make excellent and durable thatch, being split down the midrib and laid obliquely on the rafters, so that the furrows formed by the veins lie in a nearly vertical direction and serve as so many little gutters to carry off the water. The spathe (the sheath of the flower cluster), taken off entire, is used by the Indians as a bag, or the larger ones are stretched out to make caps. When split, the spathes make a kind of strong, coarse cloth.

BUSSY D'AMBOIS, bu'se' dän'bwä'. The title of a play by George Chapman. The date of its first production is placed, on internal evidence, in 1604. A sequel, under the title The Revenge of Bussy d'Ambois, appeared in 1613, and an adaptation by D'Urfé in 1691.

BUSSY-RABUTIN, bụ‘sẽ rả’bụtăN, ROGER, COMTE DE (1618-93). A French soldier and courtier, the author of the Histoire amoureuse des Gaules (1665), partly adapted in manner and even in incident from the famous Roman novel or Satira by Petronius (q.v.). This work is a thinly veiled version of the notorious court scandals of his own time and in part at least of his own creation. It created a deep sensation and influenced the development of the realistic novel towards the fictitious memoir. (See REALISM AND NATURALISM.) Bussy-Rabutin was a relative of Madame de Sévigné (q.v.), came of an illustrious family, and was educated by the Jesuits. The Histoire was written for private circulation among friends, but was surreptitiously copied and published by the Marchioness de Baume in Holland with an entirely superfluous key. Bussy-Rabutin was arrested (1665), imprisoned for 13 months in the Bastille, and then exiled to Burgundy, where he spent the remainder of his life in peace. Meanwhile the work grew by unauthorized and more outrageous additions in prose and verse. Bussy's original portion is an airy, graceful, but very realistic picture of a corrupt society, which perhaps no other author could have given. Bussy's Mémoires, of minor interest, appeared in 1696 (ed. by Lalanne, 2 vols., 1857), and his Lettres, 16971709 (ed. by Lalanne, 6 vols., Paris, 1858–59); while the best edition of the Histoire amoureuse is that of Boiteau (3 vols., Paris, 1859). Consult Gailly, Un académicien, grand seigneur, et libertin au XVIIe siècle: Bussy-Rabutin, sa vie, ses œuvres et ses succès (Paris, 1909).

BUST (Fr. buste, It. busto, from ML. bus tum, the trunk of the body). In plastic art, the name given to a representation in the round of the head, neck, and breast of the human body. It was a form of sculpture apparently unknown to Egyptian, Assyrian, and other Oriental arts. though the Egyptians of the early empire made fine portrait heads. As early as the sixth century B.C. the Greeks made Hermæ, heads of Hermes or Dionysus, mounted on pillars, and this form, common for the ideal heads of the sixth and fifth centuries, was used as the favorite form of bust until the Roman period. At this time they were often made double-two heads back to back. It was not until Alexander's time that busts were commonly used for purposes of portraiture in Greece, for until then sculpture had concerned itself less with realistic reproduction than with types. After that time the bust became perhaps the favorite form of portraiture. The two most important known series are portraits of Alexander-with the head drawn down on one side and the eyes raised-and of his successors the Ptolemies of Egypt and the Seleucids of Syria, as well as the minor kings of the Hellenic East, such as the Attalids. Another large class of Hellenistic busts are those of men of letters-poets, philosophers, oratorssuch as Plato, Zeno the Stoic, Epicurus, and other philosophers, Isocrates, and Demosthenes. To these authentic portraits should be added ideal heads of earlier personages, such as Homer, Pericles, Anaxagoras, and other early philosophers, of whom there were certainly no contemporary likenesses. At this time bronze was even more popular than marble as a material for busts. Various sizes were in vogue; some were more than life-size, for use in public places, others were diminutive, for chamber decoration. Founders of museums and libraries and wealthy amateurs sought to procure sets of such busts. The portraitists of this period showed great ability in expressing the dominant traits of character without descending to realism. In this respect they differed from those other great portraitists of the ancient world, the Etruscans and Romans. The custom of these two peoples of preserving and carrying in procession the imagines, wax portraits of ancestors who had distinguished themselves, contributed to the popularity of portrait busts. The superb bronze Etruscan bust of the elder Brutus in the Capitoline probably antedates any of the Greek portraits, and its form of draped shoulders in place of the herm shape was afterward almost universally adopted. The forums and other public places were encumbered under the Republic with marble and bronze portrait figures. Still, the busts preserved to us seem all to belong to the Imperial period, or the generation preceding it; those that represent Republican_worthies being apparently not contemporary. Even the heads of the elder Scipio Africanus are of doubtful authenticity. The custom of collections of lares and penates popularized the use of busts, as did the founding of libraries, museums, and private collections. Villas, houses, and public buildings were filled with busts. There is an uninterrupted chronological series from Augustus to Julian the Apostate. The most numerous series is that of the emperors and members of the Imperial family. The largest collection of these is at present in the Capitoline Museum; the next in the Vatican Museum in Rome. The British Museum and Louvre have some good

examples. It is by means of a comparison with coins and medals that most of these can be identified with certainty, for the inscriptions on busts are not always reliable. The series of portrait busts of philosophers and poets was far less popular than before the Empire. Private collections of busts were not unknown, as, e.g., those of M. Terentius Varro and Pomponius Atticus. The letters of Cicero and Pliny show how they were made. One such collection has fortunately been unearthed in the Villa dei Papiri at Herculaneum, belonging to a philosopher of the time of Cicero. This group, now in the Naples Museum and mainly of bronzes, is the finest of its kind preserved from antiquity. The collector's taste was catholic. His busts begin with c.500 B.C., and the earliest are ideal heads of athletes; each century is represented with exquisite works; the ages of Polycletus, of Praxiteles, of Lysippus. The masterpieces are perhaps some large heads of royal personages of the Alexandrian age, supposed to represent some of the Ptolemies, the so-called "Plato," "Berenice," and "Seneca." In the set of miniature busts, for the decoration of library or lararium, are a number of great philosophers and orators, some inscribed with their names.

The great period of portraiture closes with Septimius Severus and Caracalla, at the beginning of the third century A.D., and the decadence is then continuous to the time of Justinian in the sixth century, when busts ceased to be executed. It remained apparently a lost art until the thirteenth century. Then, curiously enough, a proto-Renaissance in southern Italy, under Frederick II, included the revival of portraiture in the form of busts, such as those of Frederick himself, and of his ministers, evidently imitated from the antique. The art of the fifteenth century was so thoroughly humanistic that portraiture was one of its favorite modes of expression. The permanent resurrection of the bust was then effected by Donatello, who was equally successful in his portraits of men, which were forceful, of women, which were graceful, and of children, where the real child-type was for the first time expressed in art with perfect mastery. The Florentine school continued in this new field. Desiderio da Settignano and Mino da Fiesole were especially successful. In the sixteenth century the Lombard school of portraiture was more realistic, especially the branch established at Modena, which was partial to terra cotta and colored busts. The fashion then spread to other nations.

ter.

During the succeeding Baroque and Rococo periods there was an even larger volume of production, varied and usually pictorial in characThe later eighteenth century saw the development of admirable realistic portraiture in the works of Houdon and his contemporaries. It was the endeavor during the early nineteenth century to attain the nearest correspondence with the antique. Busts have continued to be a popular form of portraiture. A celebrated collection of modern busts was gathered by Ludwig I of Bavaria in the Walhalla near Regensburg. In most recent years the tendency, especially in France and Italy, has been towards pictorial and even eccentric treatment. Busts are frequently represented as though they were parts of the unhewn stone or fragments of statues. During the classicist period of American sculpture they were much in vogue, and the production is still extensive. An enumeration of con

temporary sculptors successful with the bust would be a list of the most prominent of present-day sculptors. A few indeed, like Herbert Adams, have specialized in this important branch of sculpture.

Bibliography. Consult in general the article SCULPTURE. Among published sets of illustrations reproducing ancient busts was the Virum Illustrium Imagines of Fulvio Orsini (Rome, 1569; Antwerp, 1606). The first scientific classification was by Visconti (q.v.) in his Iconographie grecque (Paris, 1811) and Iconographie romaine (Paris, 1817). Consult also Bernouilli, Die erhaltenen Bildnisse berühmter Griechen (Basel, 1877); Römische Ikonographie (Stuttgart, 1882-94). The Corpus for this subject will be Brunn and Arndt, Griechische und römische Porträts (Munich, 1891 et seq.), a large folio publication, and for the portraits of the Italian Renaissance Bode's folio work, Die Denkmäler der Renaissanceskulptur Toskanas (Munich, 1892 et seq). For the modern period, consult the histories of Italian, French, German, British, and American sculpture in the bibliography of SCULPTURE.

BUSTAMANTE, boo'stå-män'tâ, ANASTASIO (1780-1853). A Mexican politician. He was born in Jiquilpán (Michoacán), Mexico, became a physician, and joined the militia in 1808. He was among the earliest supporters of Itúrbide when the revolt against Spain began in 1821. When Itúrbide was overthrown in 1823, Bustamante went into retirement, but in 1829 he was chosen Vice President of the republic, exercising the full powers of President. He resigned when Santa Anna's revolution of 1832 proved successful, and the next year was exiled, living in Europe until 1836. After the downfall of Santa Anna, in 1836, he was recalled and in 1837 was elected President. After a prosperous administration he was compelled by disturbances to resign the presidency in favor of Santa Anna in 1839 and again went to Europe, returning in 1845. He participated in the war with the

United States.

BUSTAMANTE, boo'stå-män'tâ, Carlos MARÍA DE (1774-1848). A Mexican historian, soldier, and statesman, born at Oaxaca. In 1812 he commanded a regiment under Morelos in the first Mexican war for independence, at the end of which he was taken prisoner by the Spaniards and condemned to residence in the city of Vera Cruz. From that point he aided powerfully the declaration of independence in Iguala. He cast his lot with Santa Anna, becoming a secretary of that movement, and in 1821 marched with Santa Anna to the capital. From 1805 he was editor of the Diario de Méjico. He founded a weekly newspaper, La Avispa de Chilpancingo, whose articles twice led to his imprisonment. In answer to attacks he published in 1833 a biographical sketch of himself called Hay tiempos de hablar y tiempos de callar. He wrote several works of value for the study of modern Mexican history. These include: Cuadro histórico de la revolución mexicana (2 vols., 1823; 6 vols., 1843-46); Historia del Emperador Don Agustín de Itúrbide; and El nuevo Bernal Díaz del Castillo, Historia de la invasión de los Anglo-Americanos en Méjico (1847); Diario histórico de Méjico (1896).

BUSTAN, boo-stän' (Pers. bu, fragrance + stan, place; cf. Afghanistan, Baluchistan, Kurdistan, etc.). The title of a number of Persian works, the best known of which is by Sadi

(q.v.). The term means literally a flower garden and suggests our own use of the word "anthology," i.e., a collection of beautiful writings.

BUSTARD (variant of bistard, OF. bistarde, oustarde, from Lat. avis tarda; avis, bird, tarda, slow). One of the large game birds of the OldWorld family Otididæ, which partakes of the characteristics of both the cranes and the plovers. They inhabit open country, being partial to the steppes of Russia and southwestern Asia and to the plains of Africa, and are both swift runners and powerful on the wing, although the species vary in their liking for flight. The great bustard (Otis tarda), extinct in Great Britain, but found in open regions "from Spain to Mesopotamia," is a large bird, weighing from 25 to 30 pounds ordinarily, gay in color, with wings strongly marked with black and white, and the back, shoulders, and breast (of the male) ornamented with russet, bay, and black. It feeds mainly on leaves, buds, fruits, etc., but seems to take insects, worms, or anything edible it meets. Its flesh is tender, and it is regarded as a firstclass game bird. The little bustard (Otis, or Tetrax, tetrax) is a smaller and more handsome species, inhabiting both shores of the Mediterranean. The houbaras (Houbaropsis bengalensis and Houbara, or Otis, macqueeni) range from Morocco to India and form the favorite game birds of the Asiatic plains, where they are much hunted on camel back, the sportsman so mounted being able to get near a flock that would take early alarm at his approach on foot. The AngloIndian name, "florican," is applied to several smaller Indian species, and those of the South African plains are called "knoorhaans" by the Dutch and English colonists. Australia possesses a species, but none occur in the New World, so that the distribution, as well as the ornithological affinities of these birds, is very puzzling. A structural point of interest is the presence in several species of a highly distensible gular pouch, with an opening under the tongue, concerning which much speculation has been indulged in. Stejneger is no doubt right in declaring that it is simply a secondary sexual character, for display in courtship, comparable to that of the pectoral sandpiper. From their inability to breed readily in confinement attempts to domesticate these birds have failed, although individuals may easily be tamed. Certain other birds are erroneously called "bustards"; as the Magellanic goose of Argentina. Consult Chapman and Buck, Wild Africa (London, 1893). See Plate of BUSTARDS.

BUSTARD QUAIL (Anglo-Indian). BUTTON QUAIL.

See

BUSTO-ARSIZIO, bōō'stô är-sēd'zê-ō. A city in north Italy, 21 miles northwest of Milan (Map: Italy, C 2). The church, which was designed by Bramante, contains frescoes by Gaudenzio Ferrari. The town has manufactures of cotton goods and a trade in wine. Pop., 1881, 13,000; 1901, 19,673; 1911, 25,992.

BUSULUK, boo'soolook'. See BUZULUK. BUSYBODY, THE. The nom de plume signed by Benjamin Franklin to a series of papers written in the manner of Addison's Spectator. They appeared at the time of his purchase of the Philadelphia Gazette.

BUSYBODY, THE. A comedy by Mrs. Centlivre, produced at Drury Lane, May 12, 1709, and published in quarto the same year. It is partially founded on Jonson's The Devil is an Ass and first introduces the famous character of