against the outlawry of returned _emigres_, spoke in favour of the deported priests and attacked the Directory. Accordingly he was proscribed on the 18th Fructidor, and lived in England until the Consulate. In 1801 he was made a member of the Tribunate, and in 1805 a senator. In 1814 he voted for Napoleon's abdication, which won for him a seat in the chamber of peers; but during the Hundred Days he served Napoleon, and in consequence, on the second Restoration, was for a short while excluded. In the chamber he still sought to obtain liberty for the press--a theme upon which he published a volume of his speeches (Paris, 1817). He was a member of the Institute from its foundation, and in 1816, at the reorganization, became a member of the Academie des Inscriptions et Belles-Lettres. He published in 1819-1821 a two-volume _Essai sur la vie et les opinions de M. de Malesherbes_. See F.A. Aulard, _Les Orateurs de la Revolution_ (2nd ed., 1906); L. Sciout, _Le Directoire_ (4 vols., 1895); and the "Notice sur la vie et les oeuvres de M. Boissy d'Anglas" in the _Memoires de l'Academie des Inscriptions_, ix. (R. A.*) BOITO, ARRIGO (1842- ), Italian poet and musical composer, was born at Padua on the 24th of February 1842. He studied music at the Milan Conservatoire, but even in those early days he devoted as much of his time to literature as to music, forecasting the divided allegiance which was to be the chief characteristic of his life's history. While at the Conservatoire he wrote and composed, in collaboration with Franco Faccio, a cantata, _Le Sorelle d'Italia_, which was performed with success. On completing his studies Boito travelled for some years, and after his return to Italy settled down in Milan, dividing his time between journalism and music. In 1866 he fought under Garibaldi, and in 1868 conducted the first performance of his opera _Mefistofele_ at the Scala theatre, Milan. The work failed completely, and was withdrawn after a second performance. It was revived in 1875 at Bologna in a much altered and abbreviated form, when its success was beyond question. It was performed in London in 1880 with success, but in spite of frequent revivals has never succeeded in firmly establishing itself in popular favour. Boito treated the Faust legend in a spirit far more nearly akin to the conception of Goethe than is found in Gounod's Faust, but, in spite of many isolated beauties, his opera lacks cohesion and dramatic interest. His energies were afterwards chiefly devoted to the composition of libretti, of which the principal are _Otello_ and _Falstaff_, set to music by Verdi; _La Gioconda_, set by Ponchielli; _Amleto_, set by Faccio; and _Ero e Leandre_, set by Bottesini and Mancinelli. These works display a rare knowledge of the requirements of dramatic poetry, together with uncommon literary value. Boito also published a book of poems and a novel, _L'Alfier Meno_. The degree of