Part 18

By Art. XXVI. the independence of Montenegro was definitively recognized, and by Art. XVIII. she received certain accessions of territory, including a strip of coast on the Adriatic, but under conditions which tended to place her under the tutelage of Austria-Hungary. Thus, by Art. XXIX. she was to have neither ships of war nor a war flag, the port of Antivari and all Montenegrin waters were to be closed to the war-ships of all nations; the fortifications between the lake and the coast were to be razed; the administration of the maritime and sanitary police at Antivari and along the Montenegrin littoral was to be carried on by Austria-Hungary "by means of light coast-guard boats"; Montenegro was to adopt the maritime code in force in Dalmatia, while the Montenegrin merchant flag was to be under Austro-Hungarian consular protection. Finally, Montenegro was to "come to an understanding with Austria-Hungary on the right to construct and keep up across the new Montenegrin territory a road and a railway."

By Art. XXXIV. the independence of Servia was recognized, subject to conditions (as to religious liberty, &c.) set forth in Art. XXXV. Art. XXXVI. defined the new boundaries.

By Art. XLIII. the independence of Rumania, already proclaimed by the prince (May 22/June 3 1877), was recognized. Subsequent articles define the conditions and the boundaries.

Arts. LII. to LVII. deal with the question of the free navigation of the Danube. All fortifications between the mouths and the Iron Gates were to be razed, and no vessels of war, save those of light tonnage in the service of the river police and the customs, were to navigate the river below the Iron Gates (Art. LII.). The Danube commission, on which Rumania was to be represented, was maintained in its functions (Art. LIII.) and provision made for the further prolongation of its powers (Art. LIV.).

Art. LVIII. cedes to Russia the territories of Ardahan, Kars and Batoum, in Asiatic Turkey. By Art. LIX. "H.M. the emperor of Russia declares that it is his intention to constitute Batoum a free port, essentially commercial."

By Art. LXI. "the Sublime Porte undertakes to carry out, without further delay, the improvements and reforms demanded by local requirements in the provinces inhabited by the Armenians, and to guarantee their security against the Circassians and Kurds." It was to keep the powers informed periodically of "the steps taken to this effect."

Art. LXII. made provision for the securing religious liberty in the Ottoman dominions.

Finally, Art. LXIII. declares that "the treaty of Paris of 30th March 1856, as well as the treaty of London of 13th March 1871, are maintained in all such of their provisions as are not abrogated or modified by the preceding stipulations."

For the full text of the treaty in the English translation see E. Hertslet, _Map of Europe by Treaty_, vol. iv. p. 2759 (No. 530); for the French original see _State Papers_, vol. lxix. p. 749. (W. A. P.)

BERLIN, a city of Coos county, New Hampshire, U.S.A., on the Androscoggin river, in the N. part of the state, about 98 m. N.W. of Portland, Maine. Pop. (1890) 3729; (1900) 8886, of whom 4643 were foreign-born; (1910 census) 11,780. The area of the city in 1906 was 57.81 sq. m. Berlin is served by the Grand Trunk and Boston & Maine railways. It is situated in the heart of the White Mountains and 16 m. from the base of Mt. Washington. Berlin Falls, on the picturesque Androscoggin river, furnishes an immense water-power, the development of which for manufacturing purposes accounts for the rapid growth of the city. The forests of northern New England and of the province of Quebec supply the raw material for the extensive saw-mills and planing-mills, the pulp- and paper-mills, and the sulphite fibre mills, said to be the largest in existence. In 1905 the city's factory products were valued at $5,989,119, of which 78.5% was the value of the paper and wood pulp manufactured. Berlin was first settled in 1821, was incorporated as a township in 1829, and was chartered as a city in 1897.

BERLIN, a city and port of entry, Ontario, Canada, and capital of Waterloo county, 58 m. W. of Toronto, on the Grand Trunk railway. It is the centre of a prosperous farming and manufacturing district, inhabited chiefly by German immigrants and their descendants. An electric railway connects it with the town of Waterloo (pop. 4100) 2 m. to the north, which has important flour and woollen mills and distilleries. Berlin is a flourishing manufacturing town, and contains a beet sugar refinery, automobile, leather, furniture, shirt and collar, felt, glove, button and rubber factories. Pop. (1881) 4054; (1901) 9747.

BERLIN, a four-wheeled carriage with a separate hooded seat behind, detached from the body of the vehicle; so called from having been first used in Berlin. It was designed about 1670, by a Piedmontese architect in the service of the elector of Brandenburg. It was used as a travelling carriage, and Swift refers to it in his advice to authors "who scribble in a berlin." As an adjective, the word is used to indicate a special kind of goods, originally made in Berlin, of which the best known is Berlin wool. A Berlin warehouse is a shop for the sale of wools and fancy goods (cf. Italian warehouse). The spelling "berlin" is also used by Sir Walter Scott for the "birlinn," a large Gaelic rowing-boat.

BERLIOZ, HECTOR (1803-1869), French musical composer, was born on the 11th of December 1803 at Cote-Saint-Andre, a small town near Grenoble, in the department of Isere. His father, Louis Berlioz, was a physician of repute, and by his desire Hector for some time devoted himself to the study of medicine. At the same time he had music lessons, and, in secret, perused numerous theoretical works on counterpoint and harmony, with little profit it seems, till the hearing and subsequent careful analysis of one of Haydn's quartets opened a new vista to his unguided aspirations. A similar work written by Berlioz in imitation of Haydn's masterpiece was favorably received by his friends. From Paris, where he had been sent to complete his medical studies, he at last made known to his father the unalterable decision of devoting himself entirely to art, the answer to which confession was the withdrawal of all further pecuniary assistance. In order to support life Berlioz had to accept the humble engagement of a singer in the chorus of the Gymnase theatre. Soon, however, he became reconciled to his father and entered the Conservatoire, where he studied composition under Reicha and Lesueur. His first important composition was an opera called _Les Francs-Juges_, of which, however, only the overture remains extant. In 1825 he left the Conservatoire, and began a course of self-education, founded chiefly on the works of Beethoven, Gluck, Weber and other German masters. About this period Berlioz saw for the first time the talented Irish actress Henrietta Smithson, who was then charming Paris by her impersonations of Ophelia, Juliet and other Shakespearean characters. The enthusiastic young composer became deeply enamoured of her at first sight, and tried, for a long time in vain, to gain the love or even the attention of his idol. To an incident of this wild and persevering courtship Berlioz's first symphonic work, _Episode de la vie d'un artiste_, owes its origin. By the advice of his friends Berlioz once more entered the Conservatoire, where, after several unsuccessful attempts, his cantata _Sardanapalus_ gained him the first prize for foreign travel (1830), in spite of the strong personal antagonism of one of the umpires. During a stay in Italy Berlioz composed an overture to _King Lear_, and _Le Retour a la vie_--a sort of symphony, with intervening poetical declamation between the single movements, called by the composer a melologue, and written in continuation of the _Episode de la vie d'un artiste_, along with which work it was performed at the Paris Conservatoire in 1832. Paganini on that occasion spoke to Berlioz the memorable words: "Vous commencez par ou les autres ont fini." Miss Smithson, who also was present on the occasion, consented to become the wife of her ardent lover in 1833. The marriage was a tempestuous mistake. In 1840 he separated from his wife, who died in 1854. Six months later Berlioz married Mademoiselle Recio. His second wife did not live very long, nor was there much that was edifying in this marriage. Between the date of his first marriage and 1840 came out his dramatic symphonies _Harold en Italie_, _Funebre et triomphale_, and _Romeo et Juliette_; his opera _Benvenuto Cellini_ (1837); his _Requiem_, and other works. In the course of time Berlioz won his due share of the distinctions generally awarded to artistic merit, such as the ribbon of the Legion of Honour and the membership of the Institute. But these distinctions he owed, perhaps, less to a genuine admiration of his compositions than to his successes abroad and his influential position as the musical critic of the _Journal des Debats_ (a position which he held from 1838 to 1864, and which he never used or abused to push his own works). In 1842 Berlioz went for the first time to Germany, where he was hailed with welcome by the leading musicians of the younger generation, Robert Schumann foremost amongst them. The latter paved the way for the French composer's success by a comprehensive analysis of the _Episode_ in his musical journal, the _Neue Zeitschrift fur Musik_. In 1846 he produced his magnificent cantata _La Damnation de Faust_. Berlioz gave successful concerts at Leipzig and other German cities, and repeated his visit on various later occasions--in 1852 by invitation of Liszt, to conduct his opera, _Benvenuto Cellini_ (hissed off the stage in Paris), at Weimar; and in 1855 to produce his oratorio-trilogy, _L'Enfance du Christ_, in the same city. This latter work had been previously performed at Paris, where Berlioz mystified the critics by pretending to have found the last chorus amongst the manuscript scores of a composer of the 17th century, Pierre Ducre by name. In 1855 his _Te Deum_ was written for the opening of the Paris exhibition. Berlioz also made journeys to Vienna (1866) and St Petersburg (1867), where his works were received with great enthusiasm. In 1861 he produced his work _Beatrice et Benedict_, and in 1863 _Les Troyens_. He died in Paris on the 8th of March 1869.

It is not only as a composer that the life of Berlioz is full of interest, although in this respect his achievement is singularly significant for the comprehension of the modern spirit in music. But it is as the symbol of French romanticism in the whole domain of aesthetic perception that his pre-eminence has come to be recognized. His _Memoires_ (begun in London in 1848 and finished in 1865) illustrate this romantic spirit at its highest elevation as well as at its lowest depths. Victor Hugo was a romantic, Musset was a romantic, but Berlioz was romanticism itself. As a boy he is in despair over the despair of Dido, and his breath is taken away at Virgil's "Quaesivit coelo lucem ingemuitque reperta." At the age of twelve he is in love with "Estelle," whom he meets fifty years afterwards. The scene is described by himself (1865) with minute fidelity--a scene which Flaubert must have known by heart when he wrote its parallel in the novel _L'Education sentimentale_. The romance of this meeting between the man--old, isolated, unspeakably sad, with the halo of public fame burning round him--and the woman--old also, a mother, a widow, whose beauty he had worshipped when she was eighteen--is striking. In a frame of chastened melancholy and joy at the sight of Estelle, Berlioz goes to dine with Patti and her family. Patti, on the threshold of her career, pets Berlioz with such uncontrollable affection, that as the composer wrote a description of his feelings he was overwhelmed at the bitterness of fate. What would he not have given for Estelle to show him such affection! Patti seemed to him like a marvellous bird with diamond wings flitting round his head, resting on his shoulder, plucking his hair and singing her most joyous songs to the accompaniment of beating wings. "I was enchanted but not moved. The fact is that the young, beautiful, dazzling, famous virtuoso who at the age of twenty-two has already seen musical Europe and America at her feet, does not win the power of love in me; and the aged woman, sad, obscure, ignorant of art, possesses my soul as she did in the days gone by, as she will do until my last day." If this episode touches the sublime, it may be urged with almost equal truth that his description of the exhumation of his two wives and their reburial in a single tomb touches the ridiculous. And yet the scene is described with a perception of all the detail which would call for the highest praise in a novelist. Perhaps some parallel between the splendid and the ridiculous in this singular figure may be seen in the comparison of Nadar's caricature with Charpentier's portrait of the composer.

The profound admiration of Berlioz for Shakespeare, which rose at moments to such a pitch of folly that he set Shakespeare in the place of God and worshipped him, cannot be explained simply on the ground that Henrietta Smithson was a great Shakespearean actress. Unquestionably the great figures in English literature had a profound attraction for him, and while the romantic spirit is obvious in his selections from Byron and Scott, it can also be traced in the quality of his enthusiasm for Shakespeare. It is in his music more than in his literary attitude, however, that is disclosed something in addition to the pure romance of Schumann--something that places him nearer in kind to Wagner, who recognized in him a composer from whose works he might learn something useful for the cultivation of his own ideals. As a youth the power of Beethoven's symphonies made a deep impression on Berlioz, and what has been described as the "poetical idea" in Beethoven's creations ran riot in the young medical student's mind. He thus became one of the most ardent and enlightened originators of what is now known as "programme music." Technically he was a brilliant musical colourist, often extravagant, but with the extravagant emotionalism of genius. He was a master of the orchestra; indeed, his treatment of the orchestra and his invention of unprecedented effects of _timbre_ give him a solitary position in musical history; he had an extraordinary gift for the use of the various instruments, and himself propounded a new ideal for the force to be employed, on an enormous scale.

His literary works include the _Traite d'instrumentation_ (1844); _Voyage musical en Allemagne et en Italie_ (1845); _Les Soirees d'orchestre_ (1853); _Les Grotesques de la musique_ (1859); _A travers chant_ (1862); _Memoires_ (1870); _Lettres intimes_ (1882). For a full list of his musical works, Grove's _Dictionary_ should be consulted.

The new critical edition of the complete musical works (published by Breitkopf and Hartel) is in ten series. I. Symphonies: _Fantastique_, Op. 14; _Funebre et triomphale_, Op. 15, for military band and chorus; _Harold en Italie_, Op. 16, with viola solo; _Romeo et Juliette_, with chorus and soli. II. Overtures (ten, including the five belonging to larger works). III. Smaller instrumental works, of which only the Funeral March for _Hamlet_ is important. IV. Sacred music: the _Grande Messe des morts_, Op. 5; the _Te Deum_, Op. 22; _L'Enfance du Christ_, Op. 25, and four smaller pieces, V. Secular cantatas, including _Hunt scenes de Faust_, Op. I; _Lelio, ou le retour a la vie_, Op. 146 (sequel to _Symphonie fantastique_), and _La Damnation de Faust_, Op. 24. VI. Songs and lyric choruses with orchestra, two vols. VII. Songs and lyric choruses with pianoforte, 2 vols. including arrangements of the orchestral songs. VIII. Operas: _Benvenuto Cellini_; _Les Troyens_ (five acts in two parts, _La Prise de Troie_ and _Les Troyens a Carthage_); Recitatives for the dialogue in Weber's _Freischutz_. IX. Arrangements, including the well-known orchestral version of Weber's _Invitation a la danse_. X. Fragments and new discoveries.

Adolphe Julien's biography of Berlioz (1888) first gave a careful account of the details of his life. See also the books by R. Pohl (1884), P. Galibert (1890), E. Hippeau (1890), G. Noufflard (1885), L. Mesnard (1888), Louise Pohl (1900), and D. Bernard (trans. by H.M. Dunstan, 1882). An illuminating essay on Berlioz is in Filson Young's _Mastersingers_ (1902). See also the essay in W.H. Hadow's _Studies in Modern Music_ (1st series, 1908). Berlioz's _Traite d'instrumentation_ has been translated into German and brought up to date by Richard Strauss (Peters' edition [1906]).

BERM (probably a variant of "brim"), a narrow ledge of ground, generally the level banks of a river. In parts of Egypt the whole area reached by the Nile is included in the berm. Thus of the lands near Berber, Mr C. Dupuis writes (in Sir William Garstin's _Report on the Upper Nile_, 1904), "In most places there is a well-defined alluvial berm of recent formation and varying width, up to perhaps a couple of kilometres." In military phraseology the berm is the space of ground between the base of a rampart and the ditch.

BERMONDSEY, a south-eastern metropolitan borough of London, England, bounded N. and E. by the Thames, S.E. by Deptford, S.W. by Camberwell, and W. by Southwark. Pop. (1901) 130,760. It is a district of poor streets, inhabited by a labouring population employed in leather and other factories, and in the Surrey Commercial Docks and the wharves bordering the river. The parish of Rotherhithe or Redriff has long been associated with a seafaring population. A tunnel connecting it with the opposite shore of the river was opened in June 1908. The neighbouring Thames Tunnel was opened in 1843, but, as the tolls were insufficient to maintain it, was sold to the East London Railway Company in 1865. The Herold Institute, a branch of the Borough Polytechnic, Southwark, is devoted to instruction in connexion with the leather trade. Southwark Park in the centre of the borough is 63 acres in extent. Bermondsey is in the parliamentary borough of Southwark, including the whole of Rotherhithe and part of the Bermondsey division. The borough council consists of a mayor, 9 aldermen, and 54 councillors. Area 1499.6 acres.

The name appears in Domesday, the suffix designating the former insular, marshy character of the district; while the prefix is generally taken to indicate the name of a Saxon overlord, Beormund. Bermondsey was in favour with the Norman kings as a place of residence, and there was a palace here, perhaps from pre-Norman times. A Cluniac monastery was founded in 1082, and Bermondsey Cross became a favoured place of pilgrimage. The foundation was erected into an abbey in 1399, and Abbey Road recalls its site. Similarly, Spa Road points to the existence of a popular spring and pleasure grounds, maintained for some years at the close of the 18th century. Jacob Street marks Jacob's Island, the scene of the death of Bill Sikes in Dickens's _Oliver Twist_. Tooley Street, leading east from Southwark by London Bridge railway station, is well known in connexion with the story of three tailors of Tooley Street, who addressed a petition to parliament opening with the comprehensive expression "We, the people of England." The name is a corruption of St Olave, or Olaf, the Christian king of Norway, who in 994 attacked London by way of the river, and broke down London Bridge.

See E.T. Clarke, _Bermondsey, its Historic Memories_ (1901).

BERMUDAS, a group of islands in the Atlantic Ocean, forming a British colony, in 32 deg. 15' N. and 64 deg. 50' W., about 580 m. E. by S. from Cape Hatteras on the American coast. The group, consisting of small islands and reefs (which mark the extreme northern range of the coral-building polyps), is of oval form, measuring 22 m. from N.E. to S.W., the area being 20 sq. m. The largest of the islands is Great Bermuda, or the Main Island, 14 m. long and about a mile in average width, enclosing on the east Harrington or Little Sound, and on the west the Great Sound, which is thickly studded with islets, and protected on the north by the islands of Watford, Boaz, Ireland and Somerset. The remaining members of the group, St George, Paget, Smith, St David, Cooper, Nonsuch, &c., lie N.E. of the Main Island, and form a semicircle round Castle Harbour. The fringing islands which encircle the islands, especially on the north and west, leave a few deep passages wide enough to admit the largest vessels.

_Geology._--The Bermudas consist of aeolian limestones (cf. BAHAMAS) which in some of the larger islands form irregular hills attaining a height of some 200-250 ft. These limestones are composed chiefly of comminuted shells drifted and deposited by the wind, and they are very irregularly stratified, as is usually the case with wind-blown deposits. Where fresh the rock is soft, but where it has been exposed to the

## action of the sea it is covered by a hard crust and often loses all

trace of stratification. The surface is frequently irregularly honeycombed. Even the reefs are not wholly formed of coral. They are ridges of aeolian limestone plastered over by a thin layer of corals and other calcareous organisms. The very remarkable "serpuline atolls" are covered by a solid crust made of the convoluted tubes of serpulae and _Vermetus_, together with barnacles, mussels, nullipores, corallines and some true incrusting corals. They probably rest upon a foundation of aeolian rock. The Bermudas were formerly much more extensive than at present, and they may possibly stand upon the summit of a hidden volcano. There are evidences of small oscillations of levels, but no proofs of great elevation or depression.