F. Blass, 3rd ed. (1904);
H. Jurenka (1898); N. Festa, text, translation and notes (1898). [The
latest edition is by Sir Richard Jebb (1905), with introduction, notes,
translation, and bibliography; text only (1906). See also T. Zanghieri,
_Studi su Bacchilide, Bibliografia Bacchilidea, 1897-1905_ (1905)].

(R. C. J.)

[1] The references are given according to the numbering in Jebb's edition.

[2] For other explanations suggested, see Jebb's edition, Introd. p. 18.

BACCIO D'AGNOLO (_c._ 1460-1543), Florentine wood-carver, sculptor and
architect, had the family name of Baglioni, but was always known by the
abbreviation of Bartolommeo into Baccio and the use of d'Agnolo as meaning
the son of Angelo, his father's name. He started as a wood-carver, and
between 1491 and 1502 did much of the decorative carving in the church of
Santa Maria Novella and the Palazzo Vecchio in Florence. Having made his
reputation as a sculptor he appears to have turned his attention to
architecture, and to have studied at Rome, though at what precise date is
uncertain; but quite at the beginning of the 16th century he was engaged
with Simon Pollajuolo in restoring the Palazzo Vecchio, and in 1506 he was
commissioned to complete the drum of the cupola of the metropolitan church
of Santa Maria del Fiore. The latter work, however, was interrupted on
account of adverse criticisms from Michelangelo, and it remained
unexecuted. Baccio d' Agnolo also planned the Villa Borghese and the
Bartolini palace, with other fine palaces and villas. The Bartolini palace
was the first house to be given frontispieces of columns to the door and
windows, previously confined to churches; and he was ridiculed by the
Florentines for his innovation. Another much-admired work by him was the
campanile of the church of Santo Spirito. His studio was the resort of the
most celebrated artists of the day, Michelangelo, Sansovino, the brothers
Sangallo and the young Raphael. He died in 1543, leaving three sons, all
architects, the best-known being Giuliano.

BACH, JOHANN SEBASTIAN (1685-1750), German musical composer.

[Sidenote: Family.]

The Bach family was of importance in the history of music for nearly two
hundred years. Four branches of it were known at the beginning of the 16th
century, and in 1561 we hear of Hans Bach of Wechmar who is believed to be
the father of Veit Bach (born about 1555). The family genealogy, drawn up
by J. Sebastian Bach himself and completed