e progressive
elements in the church. He was an eloquent preacher, but his reputation
rests chiefly on his expository works, which are said to have had a larger
circulation both in Europe and America than any others of their class. Of
the well-known _Notes on the New Testament_ it is said that more than a
million volumes had been issued by 1870. The _Notes_ on Job, the Psalms,
Isaiah and Daniel, found scarcely less acceptance. Displaying no original
critical power, their chief merit lies in the fact that they bring in a
popular (but not always accurate) form the results of the criticism of
others within the reach of general readers. Barnes was the author of
several other works of a practical and devotional kind, and a collection of
his _Theological Works_ was published in Philadelphia in 1875. He died in
Philadelphia on the 24th of December 1870.

BARNES, BARNABE (1569?-1609), English poet, fourth son of Dr Richard
Barnes, bishop of Durham, was born in Yorkshire, perhaps at Stonegrave, a
living of his father's, in 1568 or 1569. In 1586 he was entered at
Brasenose College, Oxford, where Giovanni Florio was his servitor, and in
1591 went to France with the earl of Essex, who was then serving against
the prince of Parma. On his return he published _Parthenophil and
Parthenophe, Sonnettes, Madrigals, Elegies and Odes_ (ent. on Stationers'
Register 1593), dedicated to his "dearest friend," William Percy, who
contributed a sonnet to the eulogies prefixed to a later work, _Offices_.
_Parthenophil_ was possibly printed for private circulation, and the copy
in the duke of Devonshire's library is believed to be unique. Barnes was
well acquainted with the work of contemporary French sonneteers, to whom he
is largely indebted, and he borrows his title, apparently, from a
Neapolitan writer of Latin verse, Hieronymus Angerianus. It is possible to
outline a story from this series of love lyrics, but the incidents are
slight, and in this case, as in other Elizabethan sonnet-cycles, it is
difficult to dogmatize as to what is the expression of a real personal
experience, and what is intellectual exercise in imitation of Petrarch.
_Parthenophil_ abounds in passages of great freshness and beauty, although
its elaborate conceits are sometimes over-ingenious and strained. Barnes
took the part of Gabriel Harvey and even experimented in classical metres.
This partisanship is sufficient to account for the abuse of Thomas Nashe,
who accused him,