st of his works
prefixed to the 3rd edition of the _Dict. des ouvrages anonymes et
pseudonymes_.

BARBIER, HENRI AUGUSTE (1805-1882), French dramatist and poet, was born in
Paris on the 29th of April 1805. Inspired by the revolution of July he
poured forth a series of eager, vigorous poems, denouncing, crudely enough,
the evils of the time. They are spoken of collectively as the _Iambes_
(1831), though the designation is not strictly applicable to all. As the
name suggests, they are modelled on the verse of Andre Chenier. They
include _La Curee_, _La Popularite_, _L'Idole_, _Paris_, _Dante_,
_Quatre-vingt-treize_ and _Varsovie_. The rest of Barbier's poems are
forgotten, and when, in 1869, he received the long delayed honour of
admission to the Academy, Montalembert expressed the general sentiment in
his _Barbier? mais il est mort!_ It was even asserted, though without
foundation, that he was not the real author of the _Iambes_. He died at
Nice on the 13th of February 1882. He collaborated with Leon de Wailly in
the libretto of Berlioz's opera, _Benvenuto Cellini_, and his works include
two series of poems on the political and social troubles of Italy and
England, printed in later editions of _Iambes et poemes_.

See also Sainte-Beuve, _Portraits Contemporains_, vol. ii.

BARBIER, LOUIS, known as the ABBE DE LA RIVIERE (1593-1670), French bishop,
was born of humble parents in Vaudelaincourt, near Compiegne. He entered
the church and made his way by his wit and cleverness, until he was
appointed tutor, and then became the friend and adviser, of Gaston
d'Orleans, brother of Louis XIII. He thus gained an entrance to the court,
became grand almoner of the queen, and received the revenue of rich abbeys.
In March 1655 he was named bishop of Langres, but he spent his time at
court, where his wit was always in demand, and where he gained great sums
by gambling. He died very rich.

BARBIERI, GIOVANNI FRANCESCO (otherwise called GUERCINO, from his
squinting), (1591-1666), Italian historical painter, was born at Cento, a
village not far from Bologna. His artistic powers were developed very
rapidly, and at the age of seventeen he was associated with Benedetto
Gennari (1550-1610), a well-known painter of the Bolognese school. The fame
of the young painter spread beyond his native village, and in 1615 he
removed to Bologna, where his paintings were much admired. His first style
was formed after that of the Caracci; but the strong