[6] Idem, ii. 7.
[7] Idem, iii. 5.
[8] A reprint edited by Ulysse Robert has been published by the Soc. des Anciens Textes Français (Paris, 1897).
[9] See Conrad Cichorius, Die Reliefs der Traiansaule, 3 vols. of text and 2 portfolios of heliogravures (Berlin, 1896, &c.), Bd. i. pl. x. buccina and tubae; pl. viii. buccina; pl. lxxvi. buccina and two cornua; pl. xx. cornu, &c.; or W. Froehner, La Colonne de Trajan (Paris, 1872), vol. i. pl. xxxii., xxxvi., li., tome ii. pl. lxvi., tome iii. pl. cxxxiv., &c.
[10] See F.X. Kraus, "Die Wandgemälde von San Angelo in Formis," in Jahrbuch der kgl. preuss. Kunstsamml. (1893), pl. i.
BUCCLEUCH, DUKES OF. The substantial origin of the ducal house of the Scotts of Buccleuch dates back to the large grants of lands in Scotland to Sir Walter Scott of Kirkurd and Buccleuch, a border chief, by James II., in consequence of the fall of the 8th earl of Douglas (1452); but the family traced their descent back to a Sir Richard le Scott (1240-1285). The estate of Buccleuch is in Selkirkshire. Sir Walter Scott of Branxholm and Buccleuch (d. 1552) distinguished himself at the battle of Pinkie (1547), and furnished material for his later namesake's famous poem, The Lay of the Last Minstrel; and his great-grandson Sir Walter (1565-1611) was created Lord Scott of Buccleuch in 1606. An earldom followed in 1619. The second earl's daughter Anne (1651-1732), who succeeded him as a countess in her own right, married in 1663 the famous duke of Monmouth (q.v.), who was then created 1st duke of Buccleuch; and her grandson Francis became 2nd duke. The latter's son Henry (1746-1812) became 3rd duke, and in 1810 succeeded also, on the death of William Douglas, 4th duke of Queensberry, to that dukedom as well as its estates and other honours, according to the entail executed by his own great-grandfather, the 2nd duke of Queensberry, in 1706; he married the duke of Montagu's daughter, and was famous for his generosity and benefactions. His son Charles William Henry (d. 1819), grandson Walter Francis Scott (1806-1884), and great-grandson William Henry Walter Montagu Douglas Scott (b. 1831), succeeded in turn as 4th, 5th and 6th dukes of Buccleuch and 6th, 7th, and 8th dukes of Queensberry. The 5th duke was lord privy seal 1842-1846, and president of the council 1846. It was he who at a cost of over £500,000 made the harbour at Granton, near Edinburgh. He was president of the Highland and Agricultural Society, the Society of Antiquaries and of the British Association. The 6th duke sat in the House of Commons as Conservative M.P. for Midlothian, 1853-1868 and 1874-1880; his wife, a daughter of the 1st duke of Abercorn, held the office of mistress of the robes.
See Sir W. Fraser, The Scotts of Buccleuch (1878).
BUCENTAUR (Ital. bucintoro), the state gallery of the doges of Venice, on which, every year on Ascension day up to 1789, they put into the Adriatic in order to perform the ceremony of "wedding the sea." The name bucintoro is derived from the Ital. buzino d' oro, "golden bark," latinized in the middle ages as bucentaurus on the analogy of a supposed Gr. βουκένταυρος, ox-centaur (from βοῦς and Κένταυρος). This led to the explanation of the name as derived from the head of an ox having served as the galley's figurehead. This derivation is, however, fanciful; the name bucentaurus is unknown in ancient mythology, and the figurehead of the bucentaurs, of which representations have come down to us, is the lion of St Mark.
The name bucentaur seems, indeed, to have been given to any great and sumptuous Venetian galley. Du Cange (Gloss., s.v. "Bucentaurus") quotes from the chronicle of the doge Andrea Dandolo (d. 1354): cum uno artificioso et solemni Bucentauro, super quo venit usque ad S. Clementem, quo jam pervenerat principalior et solemnior Bucentaurus cum consiliariis, &c. The last and most magnificent of the bucentaurs, built in 1729, was destroyed by the French in 1798 for the sake of its golden decorations. Remains of it are preserved at Venice in the Museo Civico Correr and in the Arsenal; in the latter there is also a fine model of it.
The "Marriage of the Adriatic," or more correctly "of the sea" (Sposalizio del Mar) was a ceremony symbolizing the maritime dominion of Venice. The ceremony, established about A.D. 1000 to commemorate the doge Orseolo II.'s conquest of Dalmatia, was originally one of supplication and placation, Ascension day being chosen as that on which the doge had set out on his expedition. The form it took was a solemn procession of boats, headed by the doge's maesta nave, afterwards the Bucentaur (from 1311) out to sea by the Lido port. A prayer was offered that "for us and all who sail thereon the sea may be calm and quiet," whereupon the doge and the others were solemnly aspersed with holy water, the rest of which was thrown into the sea while the priests chanted "Purge me with hyssop and I shall be clean." To this ancient ceremony a sacramental character was given by Pope Alexander III in 1177, in return for the services rendered by Venice in the struggle against the emperor Frederick I. The pope drew a ring from his finger and, giving it to the doge, bade him cast such a one into the sea each year on Ascension day, and so wed the sea. Henceforth the ceremonial, instead of placatory and expiatory, became nuptial. Every year the doge dropped a consecrated ring into the sea, and with the words Desponsamus te, mare (We wed thee, sea) declared Venice and the sea to be indissolubly one (see H. F. Brown, Venice, London, 1893, pp. 69, 110).