(Dr John), a celebrated musician and composer, was born in Somersetshire about the year 1563, and, as it is said, was of the Somerset family. He was educated under Blitheman. In 1586, he was admitted at Oxford to the degree of bachelor of music, having practised in that faculty 14 years; and in 1592, was created doctor in the university of Cambridge. In 1591, he was appointed organist of the queen's chapel, in the room of his master, Blitheman.

Bull was the first Gresham professor of music, and was appointed to that station upon the special recommendation of queen Elizabeth. However skilful he might be in his profession, it seems he was not able to read his lectures in Latin; and therefore, by a special provision in the ordinances respecting the Gresham professors, made anno 1597, it is declared, that because Dr Bull is recommended to the place of music-professor by the queen's most excellent majesty, being not able to speak Latin, his lectures are permitted to be altogether English, so long as he shall continue music-professor there.

In the year 1601, he went abroad for the recovery of his health, which at that time was declining; and during his absence was permitted to substitute, as his deputy, a son of William Bird, named Thomas. He travelled incognito into France and Germany; and Wood takes occasion to relate a story of him while abroad, which the reader shall have in his own words.

"Dr Bull hearing of a famous musician belonging to a cathedral in St Omer's, he applied himself, as a novice, to him, to learn something of his faculty, and to see and admire his works. This musician, after some discourse had passed between them, conducted Bull to a veltry or music-school joining to the cathedral, and shewed him a lesson or song of 40 parts; and then made a vaunting challenge to any person in the world to add one part more to them, supposing it to be so complete and full, that it was impossible for any mortal man to correct or add to it. Bull thereupon, desiring the use of pen, ink, and ruled paper, such as we call musical paper, prayed the musician to lock him up in the said school for two or three hours; which being done, not without great disdain by the musician, Bull, in that time or less, added 40 more parts to the said lesson or song. The musician thereupon being called in, he viewed it, tried it, and retired it; at length he burst out into a great ecstacy, and swore by the great God, that he that added these 40 parts must either be the devil or Dr Bull. Whereupon Bull making himself known, the musician fell down and adored him. Afterwards, continuing there and in those parts for a time, he became so much admired, that he was courted to accept of any place of preferment suitable to his profession, either within the dominions of the emperor, the king of France, or Spain; but the tidings of these transactions coming to the English court, queen Elizabeth commanded him home."

Fafli, anno 1586.

Dr Ward, who has given the life of Dr Bull, in his lives of the Gresham professors, relates, that upon the decease of queen Elizabeth he became chief organist to king James, and had the honour of entertaining his majesty and prince Henry at Merchant Taylor's hall with his performance on the organ. The same author proceeds to relate, that in 1613 Bull quitted England land and went to reside in the Netherlands, where he was admitted into the service of the archduke. He suggests, as the reason of Bull's retirement, that the science began to sink in the reign of king James; which he infers from that want of court-patronage, which, it seems, induced the musicians of that day to dedicate their works to one another. But surely Bull had none of these reasons to complain of being slighted that others had. He was in the service of the chapel, and at the head of the prince's musicians; and in the year 1604 his salary for the chapel-duty had been augmented. The circumstances of his departure from England may be collected from the following entry now to be seen in the cheque book: "1613, John Bull doctor of music went beyond seas without licence, and was admitted into the archduke's service, and entered into paie there about Mich. and Peter Hopkins a bafe from Paul's was sworn into his place the 27th of December following. His wages from Mich. unto the day of the swearing of the said Peter Hopkins was dispofed of by the deane of his majesty's chapel." Wood says, that Dr Bull died at Hamburgh: others have said at Lubeck.

The only works of Bull in print are lessons in the "Parthenia, or the maiden-head of the first music that ever was printed for the virginals." An anthem of his, "Deliver me, O God," is to be found in Bernard's collection of church-music. Dr Ward has given a long list of compositions of Dr Bull in manuscript in the collection of the late Dr Pepusch, by which it appears that he was equally excellent in vocal and instrumental harmony. By some of the lessons in the Parthenia it seems that he was possessed of a power of execution on the harpsichord far beyond what is generally conceived of the masters of that time. As to his lessons, they were, in the estimation of Dr Pepusch, not only for the harmony and contrivance, but for air and modulation, so excellent, that he scrupled not to prefer them to those of Couperin, Scarlatti, and others of the modern composers for the harpsichord.

Bull (George), bishop of St David's, was born at Wells, in 1634; and educated at Exeter college, in Oxford. The first benefice he enjoyed was that of St George's, near Bristol, whence he rose successively to be rector of Suddington in Gloucestershire, prebendary of Gloucester, archdeacon of Llandaff, and in 1705 bishop of St David's. This dignity he enjoyed about four years, and died in 1709. During the usurpation of Cromwell, he adhered steadily, though still with great prudence, to the forms of the church of England; and in the reign of James II. preached very strenuously against the errors of Popery. He wrote, 1. A defense of the Nicene faith. 2. Apostolical harmony. 3. Primitive apostolical tradition; and other works.

zoology. See Bos.

Wild Bulls. The wild bulls now so numerous on the continent of America, are said to have sprung from one bull and seven cows, which were carried thither by some of the first conquerors. For the manner of hunting these, see Buccaneers.

astronomy. See Astronomy, no 406.

Bull's-Eye, among seamen, a small, obscure, sublime cloud, ruddy in the middle, that sometimes appear to mariners, and is the immediate forerunner of a great storm at sea.

Bull-Fighting, a sport or exercise much in vogue among the Spaniards and Portuguese, consisting in a kind of combat of a cavalier or torreadore against a wild bull, either on foot or on horseback, by riding at him with a lance. The Spaniards have bull-fights, i.e. feasts attended with shews, in honour of St John, the Virgin Mary, &c. This sport the Spaniards received from the Moors, among whom it was celebrated with great eclat. Some think that the Moors might have received the custom from the Romans, and they from the Greeks. Dr Plot is of opinion, that the Taurinae, or bull-fights among the Thessalians, who first instituted this game, and of whom Julius Cæsar learned and brought it to Rome, were the origin both of the Spanish and Portuguese bull-fighting, and of the English bull-running. This practice was prohibited by Pope Pius V. under pain of excommunication incurred ipso facto. But succeeding popes have granted several mitigations in behalf of the toradors.

From the following account of a bull-feast in the Coliseum at Rome 1332, extracted from Muratori by Mr Gibbon, the reader may form some idea of the pomp, the ceremonies, and the danger, which attended these exhibitions. "A general proclamation as far as Rimini and Ravenna invited the nobles to exercise their skill and courage in this perilous adventure. The Roman ladies were marshalled in three squadrons, and seated in three balconies, which on this day, the third of September, were lined with scarlet cloth. The fair Jacova di Rovere led the matrons from beyond the Tiber, a pure and native race, who still represent the features and character of antiquity. The remainder of the city was divided between the Colonna and Urfini families; the two factions were proud of the number and beauty of their female bands: the charms of Savella Urfini are mentioned with praise; and the Colonna regretted the absence of the youngest of their house, who had sprained her ankle in the garden of Nero's tower. The lots of the champions were drawn by an old and respectable citizen; and they descended into the arena, or pit, to encounter the wild-bulls, on foot as it should seem, with a single spear. Amidst the crowd, our annalist has selected the names, colours, and devices, of 20 of the most conspicuous knights. Several of the names are the most illustrious of Rome and the ecclesiastical state; Malatesta, Polenta, della Valle, Cafarello, Savelli, Capoccio, Conti, Annibaldi, Altieri, Corfi. The colours were adapted to their taste and situation. And the devices are expressive of hope or despair, and breathe the spirit of gallantry and arms. 'I am alone, like the youngest of the Horatii,' the confidence of an intrepid stranger: 'I live disconsolate,' a weeping widow: 'I burn under the ashes,' a disheartened lover: 'I adore Lavinia or Lucretia,' the ambiguous declaration of a modern passion: 'My faith is as pure,' the motto of a white livery: 'Who is stronger than myself?' of a lion's hide: 'If I am drowned in blood, what a pleasant death!' the wish of ferocious courage. The pride or prudence of the Urfini restrained them from the field, which was occupied by three of their hereditary rivals, whose inscriptions denoted the lofty greatness of the Colonna name: 'Though sad, I am strong;' 'Strong as I am great;' 'If I fall addressing himself to the spectators) you fall with me:'—intimating (says the writer), that while the other families were the subjects of the the Vatican, they alone were the supporters of the Capitol. The combats of the amphitheatre were dangerous and bloody. Every champion successively encountered a wild bull; and the victory may be ascribed to the quadrupeds, since no more than eleven were left on the field, with the loss of nine wounded and 18 killed on the side of their adversaries. Some of the noblest families might mourn; but the pomp of the funerals, in the churches of St John Lateran and St Maria Maggiore, afforded a second holiday to the people."— Doubtless it was not in such conflicts that the blood of the Romans should have been shed: yet, in blaming their rashness, we are compelled to applaud their gallantry; and the noble volunteers, who display their magnificence and risk their lives under the balconies of the fair, excite a more generous sympathy than the thousands of captives and malefactors who were reluctantly dragged to the scene of slaughter."

A striking relic of barbarity in the Spanish manners of the present day, is the excessive attachment of that nation to bull-fights, a spectacle which shocks the delicacy of every other people in Europe. Many Spaniards consider this practice as the sure means of preserving that energy by which they are characterized, and of habituating them to violent emotions, which are terrible only to timid minds. But it seems difficult to comprehend what relation there is between bravery and a spectacle where the assistants now run no danger; where the actors prove by the few accidents which befall them, that theirs has nothing in it very interesting; and where the unhappy victims meet only with certain death as the reward of their vigour and courage.

Another proof that these spectacles have little or no influence on the disposition of the mind is, that children, old men, and people of all ages, stations, and characters, assist at them; and yet their being accustomed to such bloody entertainments appears neither to correct their weaknesses and timidity, nor alter the mildness of their manners.

The bull-fights are very expensive; but they bring great gain to the undertakers. The worst places cost two or four reals, according as they are in the sun or in the shade. The price of the highest is a dollar. When the price of the horses and bulls, and the wages of the Torreadores, have been paid out of this money, the rest is generally appropriated to pious foundations; at Madrid it forms one of the principal funds of the hospital. It is only during summer that these combats are exhibited, because the season then permits the spectators to sit in the open air, and because the bulls are then more vigorous. Those which are of the best breed are condemned to this kind of sacrifice; and connoisseurs are so well acquainted with their distinguishing marks, that as soon as a bull appears upon the arena, they can mention the place where he was reared. This arena is a kind of circus surrounded by about a dozen of seats, rising one above another; the highest of which only is covered. The boxes occupy the lower part of the edifice. In some cities, Valladolid for example, which have no place particularly set apart for these combats, the principal square is converted into a theatre. The balconies of the houses are widened, so as to project over the streets which end there; and it is really a very interesting sight to see the different classes of people assembled around this square, waiting for the signal when the entertainment is to commence, and exhibiting every external sign of impatience and joy. The spectacle commences by a kind of procession around the square, in which appear, both on horseback and on foot, the combatants who are to attack the fierce animal; after which two alguazils, dressed in perukes and black robes, advance with great gravity on horseback; who go and ask from the president of the entertainment an order for it to commence. A signal is immediately given; and the animal, which was before shut up in a kind of hovel with a door opening into the square, soon makes his appearance. The officers of justice, who have nothing to do with the bull, prudently hasten to retire, and their fright is a prelude to the cruel pleasure which the spectators are about to enjoy. The bull, however, is received with loud shouts, and almost stunned by the noisy expressions of their joy. He has to contend first against the picadores, combatants on horseback, who, dressed according to the ancient Spanish manner, and as it were fixed to their saddles, wait for him, each being armed with a long lance. This exercise, which requires strength, courage, and dexterity, is not considered as disgraceful. Formerly the greatest lords did not disdain to practise it; even at present some of the hidalgos solicit for the honour of fighting the bull on horseback, and they are then previously presented to the people, under the auspices of a patron, who is commonly one of the principal personages at court.

The picadores, whoever they may be, open the scene. It often happens that the bull, without being provoked, darts upon them, and everybody entertains a favourable opinion of his courage. If, notwithstanding the sharp pointed weapon which defends his attack, he returns immediately to the charge, their shouts are redoubled, as their joy is converted into enthusiasm; but if the bull, struck with terror, appears pacific, and avoids his persecutors, by walking round the square in a timid manner, he is hooted at and hissed by the whole spectators, and all those near whom he passes load him with blows and reproaches. He seems then to be a common enemy, who has some great crime to expiate; or a victim, in the sacrifice of which all the people are interested. If nothing can awaken his courage, he is judged unworthy of being tormented by men; the cry of perros, perro., brings forth new enemies against him, and large dogs are let loose upon him, which seize him by the neck and ears in a furious manner. The animal then finds the use of those weapons with which nature has furnished him; he tosses the dogs into the air, who fall down stunned, and sometimes mangled; they however recover, renew the combat, and generally finish by overcoming their adversary, who thus perishes ignobly. If, on the other hand, he presents himself with a good grace, he runs a longer and nobler, but a much more painful career. The first act of the tragedy belongs to the combatants on horseback; this is the most animated and bloody of all the scenes, and often the most disgusting. The irritated animal braves the pointed steel which makes deep wounds in his neck, attacks with fury the innocent horse who carries his enemy, rips up his sides, and overturns him together with his rider. The latter, then dismounted and disarmed, would be exposed to imminent danger, did not combatants on foot, called chulos, come to divert the bull's attention, and to provoke him, by shaking before him different pieces of cloth of various colours. It is, however, at their own risk that they thus save the dismounted horseman; for the bull sometimes pursues them, and they have then need for all their agility. They often escape from him by letting fall in his way the piece of stuff which was their only arms, and against which the deceived animal expends all his fury. Sometimes he does not accept this substitute, and the combatant has no other resource but to throw himself speedily over a barrier, five feet high, which incloses the interior part of the arena. In some places this barrier is double, and the intermediate space forms a kind of circular gallery, behind which the pursued torero is in safety. But when the barrier is single, the bull attempts to jump over it, and often succeeds. The reader may easily imagine in what consternation the nearest of the spectators then are; their haste to get out of the way, and to crowd to the upper benches, becomes often more fatal to them than even the fury of the bull, who, stumbling at every step, on account of the narrowness of the place and the inequality of the ground, thinks rather of his own safety than of revenge, and besides soon falls under the blows which are given him from all quarters.

Except in such cases, which are very rare, he immediately returns. His adversary recovered, has had time to get up; he immediately remounts his horse, provided the latter is not killed or rendered unfit for service, and the attack commences; but he is often obliged to change his horse several times. Expressions cannot then be found to celebrate these acts of prowess, which for several days become the favourite topic of conversation. The horses, very affecting models of patience, courage, and docility, may be seen treading under their feet their own bloody entrails, which drop from their sides half torn open, and yet obeying, for some time after, the hand which conducts them to new tortures. Spectators of delicacy are then filled with disgust, which converts their pleasure into pain. A new act is however preparing, which reconciles them to the entertainment. As soon as it is concluded that the bull has been sufficiently tormented by the combatants on horseback, they retire and leave him to be irritated by those on foot. The latter, who are called banderilleros, go before the animal; and the moment he darts upon them they plunge into his neck, two by two, a kind of darts called banderillas, the points of which are hooked, and which are ornamented with small streamers made of coloured paper. The fury of the bull is now redoubled; he roars, tosses his head, and the vain efforts which he makes serve only to increase the pain of his wounds; this last scene calls forth all the agility of his adversaries. The spectators at first tremble for them, when they behold them braving so near the horns of this formidable animal; but their hands, well exercised, aim their blows so skilfully, and they avoid the danger so nimbly, that after having seen them a few times, one neither pities nor admires them, and their address and dexterity seem only to be a small episode of the tragedy, which concludes in the following manner: When the vigour of the bull appears to be almost exhausted; when his blood, issuing from twenty wounds, streams along his neck and moistens his robust sides; and when the people, tired of one object, demand another victim; the president of the entertainment gives the signal of death, which is announced by the sound of trumpets. The matador then advances, and all the rest quit the arena; with one hand he holds a long dagger, and with the other a kind of flag, which he waves backwards and forwards before his adversary. They both flop and gaze at one another; and while the agility of the matador deceives the impetuosity of the bull, the pleasure of the spectators, which was for some time suspended, is again awakened into life. Sometimes the bull remains motionless, throws up the earth with his foot, and appears as if meditating revenge.

The bull in this condition, and the matador who calculates his motions and divines his projects, form a group which an able pencil might not disdain to delineate. The assembly in silence beholds this dumb scene. The matador at length gives the mortal blow; and if the animal immediately falls, a thousand voices proclaim with loud shouts the triumph of the conqueror; but if the blow is not decisive, if the bull survives and seeks still to brave the fatal steel, murmurs succeed to applause, and the matador, whose glory was about to be raised to the skies, is considered only as an unskilful butcher. He endeavours to be soon revenged, and to disarm his judges of their severity. His zeal sometimes degenerates into blind fury, and his partisans tremble for the consequences of his imprudence. He at length directs his blow better. The animal vomits up blood; he staggers and falls, while his conqueror is intoxicated with the applause of the people. Three mules, ornamented with bells and streamers, come to terminate the tragedy. A rope is tied around the bull's horns, which have betrayed his valour, and the animal, which but a little before was furious and proud, is dragged ignominiously from the arena which he has honoured, and leaves only the traces of his blood and the remembrance of his exploits, which are soon effaced on the appearance of his successor. On each of the days set apart for these entertainments, six are thus sacrificed in the morning, and twelve in the afternoon, at least in Madrid. The three last are given exclusively to the matador, who, without the affluence of the picadores, exerts his ingenuity to vary the pleasure of the spectators. Sometimes he causes them to be combated by some intrepid stranger, who attacks them mounted on the back of another bull, and sometimes he matches them with a bear; this last method is generally defined for the pleasure of the populace. The points of the bull's horns are concealed by something wrapped round them, which breaks their force. The animal, which in this state is called Embolado, has power neither to pierce nor to tear his antagonist. The amateurs then descend in great numbers to torment him, each after his own manner, and often expiate this cruel pleasure by violent contusions; but the bull always falls at length under the stroke of the matador. The few spectators who are not infected by the general madness for this sport, regret that those wretched animals do not, at least, purchase their lives at the expense of so many torments and so many efforts of courage; they would willingly assist them to escape from their persecutors. In the minds of such spectators disgust succeeds compassion, and satiety succeeds ceeds disgust. Such a series of uniform scenes makes that interest become languid, which this spectacle, on its commencement, seemed to promise. But to connoisseurs, who have thoroughly studied all the stratagems of the bull, the resources of his address and fury, and the different methods of irritating, tormenting, and deceiving him, none of these scenes resembles another, and they pity those frivolous observers who cannot remark all their varieties.

The Spanish government are very sensible of the moral and political inconveniences arising from this species of phrensy. They have long since perceived, that among a people whom they wish to encourage to labour, it is the cause of much disorder and dissipation; and that it hurts agriculture, by destroying a great number of robust animals, which might be usefully employed: but they are obliged to manage with caution a taste which it might be dangerous to attempt to abolish precipitately. They are, however, far from encouraging it. The court itself formerly reckoned bull-fights among the number of its festivals, which were given at certain periods. The Plaza-Mayor was the theatre of them, and the king and the royal family honoured them with their presence. His guards presided there in good order. His halberdiers formed the interior circle of the scene; and their long weapons, held out in a defensive posture, were the only barrier which they opposed against the dangerous caprices of the bull. These entertainments, which, by way of excellence, were called Fiestas Reales, have become very rare. Charles III., who endeavoured to polish the nation, and to direct their attention to useful objects, was very desirous of destroying a taste in which he saw nothing but inconveniences; but he was too wise to employ violent means for that purpose. He, however, confined the number of bull-fights to those, the profits of which were applied to the support of some charitable institution, with an intention of substituting for these other funds afterwards. Bull-fights, by these means being rendered less frequent, will, perhaps, gradually lose their attractions, until more favourable circumstances permit the entire abolition of them.

Bull-Running, denotes a feudal custom obtaining in the honour of Tutbury in Staffordshire; where, anciently, on the day of the assumption of our Lady, a bull is turned loose by the lord to the minstrels; who, if they can catch him before he passes the river Dove, are to have him for their own, or, in lieu thereof, to receive each 40 pence; in consideration of which custom they pay 20 pence yearly to the said lord.

Bull and Boar. By the custom of some places, the parson is obliged to keep a bull and boar for the use of his parishioners, in consideration of his having tithes of calves and pigs, &c.

Bull-Frog, in zoology. See Rana.

Bull-Head, or Miller's Thumb, in ichthyology. See Cottus.

Bull, among ecclesiastics, a written letter, dispatched, by order of the Pope, from the Roman chancery, and sealed with lead, being written on parchment, by which it is partly distinguished from a brief: see the article Brief.—It is a kind of apostolical rescript, or edict; and is chiefly in use in matters of justice or grace. If the former be the intention of the bull, the lead is hung by a hempen chord; if the latter, by a filken thread. It is this pendent lead, or seal, which is, properly speaking, the bull, and which is impressed on one side with the heads of St Peter and St Paul, and on the other with the name of the Pope and the year of his pontificate. The bull is written in an old, round, Gothic letter, and is divided into five parts, the narrative of the fact, the conception, the clause, the date, and the salutation, in which the Pope styles himself servus servorum, i.e. the servant of servants. These instruments, besides the lead hanging to them, have a cross, with some text of scripture, or religious motto, about it. Bulls are granted for the consecration of bishops, the promotion to benefices, and the celebration of jubilees, &c.

Bull in cena Domini, a particular bull read every year, on the day of the Lord's supper, or Maundy Thursday, in the Pope's presence, containing excommunications and anathemas against heretics, and all who disturb or oppose the jurisdiction of the holy see. After the reading of the bull, the Pope throws a burning torch in the public place, to denote the thunder of this anathema.

Golden Bull, an edict, or imperial constitution, made by the emperor Charles IV. reputed to be the magna charta, or the fundamental law of the German empire.

It is called golden, because it has a golden seal, in the form of a pope's bull, tied with yellow and red cords of silk: upon one side is the emperor represented fitting on his throne, and on the other the capital of Rome. It is also called Caroline, on Charles IV.'s account. Till the publication of the golden bull, the form and ceremony of the election of an emperor were dubious and undetermined, and the number of the electors not fixed. This solemn edict regulated the functions, rights, privileges, and pre-eminences, of the electors. The original, which is in Latin, on vellum, is preserved at Francfort: this ordonnance, containing 30 articles or chapters, was approved of by all the princes of the empire, and remain still in force.

Silver Bulls were not in so frequent use; tho' we do not want instances of them.

Leaden Bulls were sent by the emperors of Constantinople to despots, patriarchs, and princes; and the like were also used by the grandees of the Imperial court, as well as by the kings of France, Sicily, &c. and by bishops, patriarchs, and popes. It is to be observed, that the leaden bulls of these last had, on one side, the name of the pope or bishop inscribed. Polydore Virgil makes pope Stephen III. the first who used leaden bulls, about the year 772. But others find instances of them as early as Silvester, Leo I. and Gregory the Great. The latter popes, beside their own names, strike the figures of St Peter and St Paul on their bulls; a practice first introduced by Pope Pachal II. But why, in these bulls, the figure of St Paul is on the right, and that of St Peter on the left side, is a question which has occasioned many conjectures and disputes.

Waxen Bulls are said to have been first brought into England by the Normans. They were in frequent use among the Greek emperors, who thus sealed letters to their wives, mothers, and sons. Of these there were two sorts, one red, and the other green.