Bawtry. Like the saddler of Bawtry, who was hanged for leaving his liquor (Yorkshire Proverb). It was customary for criminals on their way to execution to stop at a certain tavern in York for a “parting draught.” The saddler of Bawtry refused to accept the liquor, and was hanged. If, however, he had stopped a few minutes at the tavern, his reprieve, which was on the road, would have arrived in time to save him.

Bayard, Le chevalier sans peur et sans reproche (1476–1524).

The British Bayard, sir Philip Sidney (1554–1584).

The Polish Bayard, prince Joseph Poniatowski (1763–1814).

The Bayard of India, sir James Outram (1803–1863). So called by sir C. Napier.

The Bayard of the Netherlands, Louis of Nassau (seventeenth century), brother of William of Orange, and founder of the Dutch Republic.

Bayard, a horse of incredible speed, belonging to the four sons of Aymon. If only one mounted, the horse was of the ordinary size, but increased in proportion as two or more mounted. (The word means “bright bay colour.”)—Villeneuve: Les Quatre-Filz-Aymon.

Bayard, the steed of Fitz-James.—Sir.W.Scott: Lady of the Lake, v. 18 (1810).

Bayardo, the famous steed of Rinaldo, which onc e belonged to Amadis of Gaul. It was found in a grotto by the wizard Malagigi, along with the sword Fusberta, both of which he gave to his cousin Rinaldo.

His colour bay, and hence his name he drew—Bayardo called, A star of silver hue Emblazed his front.
   —Tasso: Rinaldo, ii. (1562).

Byles (I syl), the chief character of The Rehearsal, a farce by George Villiers, duke of Buckingham (1671). Bayes is represented as greedy of applause, impatient of censure, meanly obsequious, regardless of plot, and only anxious for claptrap. The character is meant for John Dryden, and several passages of his plays are well parodied.

C. Dibdin, in his History of the Stage, states that Mrs. Mountford played “Bayes” with more variety than had ever been thrown into the part before.”

No species of novel-writing exposes itself to a severer trial, since it not only resigns all Bayes’ pretensions “to elevate the imagination,”…but places its productions within the range of [general] criticism.—Encyc.Brit. (article “Romance”).

Dead men may rise again, like Bayes’troops, or the savages in the Fantocini. In the farce above referred to, a battle is fought between foot-soldiers and great hobby-horses. At last Drawcansir kills all on both sides. Smith then asks Bayes “How are they to go off?” “As they came on,” says Bayes, “upon their legs.”Whereupon the dead men all jump up alive again.

This revival of life is imitated by Rhodes, in the last scene of his Bombastes Furioso.

Bayeux Tapestry, said to be the work of English damsels retained in the court of Matilda, the Conqueror’s wife. When Napoleon contemplated the invasion of England in 1803, he caused this record to be removed to Paris, where it was exhibited in the National Museum. Having served its purpose, it was returned to Bayeux. Facsimiles by Stothard were published in the Vetusta Monumenta, at the expense of the Society of Antiquaries. The original is preserved in the Hôotel of the Prefecture of Bayeux (Normandy), and is called Toile de St.Fean. It is coiled round a windlass, and consists of linen worked with wools. It is 20 inches broad, 214 feet long, and contains 72 compartments.

  By PanEris using Melati.

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