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 and other Rural Buildings, including entrance Gates and Lodges,’ and ‘The Rural Architect, consisting of various designs for Country Buildings, &c., with ground plans, estimates, and descriptions, &c.’ A number of his drawings remain in the Soane Museum, Lincoln's Inn Fields. Some of the illustrations in Britton's ‘Architectural Antiquities’ are by him.

[Dict. of Architecture; Redgrave's Dict. of Artists; Leslie and Taylor's Life of Sir Joshua Reynolds, ii. 589; Sandby's Hist. of the Royal Academy, i. 400.] 

GANDY, MICHAEL (1778–1862), architect, younger brother of Joseph Michael Gandy [q. v.] and of John Peter Gandy-Deering [see ], was a pupil of James Wyatt, whose office he left on receiving an appointment in the Indian naval service. He was thus employed for some years, and served in India and China. In 1812 he exhibited at the Royal Academy ‘The Burning of Onrust and Kupers Island, Batavia, in 1800, drawn on the spot.’ On his return he was employed for some time in the drawing-office of Mr. Holl, civil architect to the navy, afterwards by Francis Goodwin [q. v.], and eventually by Sir Jeffrey Wyatville [q. v.], with whom he remained for thirty-three years, until Wyatville's death in 1840. In 1842 he published with Benjamin Bond ‘Architectural Illustrations of Windsor Castle (text by J. Britton).’ He died in April 1862.

[Dict. of Architecture; Redgrave's Dict. of Artists.] 

GANDY, WILLIAM (d. 1729), portrait-painter, son of James Gandy [q. v.], was probably born in Ireland. He was for some years an itinerant painter in Devonshire and the west of England, went to Plymouth in 1714, and eventually settled in Exeter. According to Northcote, whose grandfather and father knew and befriended Gandy, the painter was a man of most intractable disposition, very resentful, of unbounded pride, and in the latter part of his life both idle and luxurious; he was at all times totally careless of his reputation as a painter, though he might have been the greatest painter of his time. He liked people to think that he was a natural son of his father's patron, the Duke of Ormonde, and that he was so much concerned in the duke's affairs that he was not able to make a public appearance in London. His portraits, though sometimes slight and sketchy, showed real genius, and have been frequently admired by great artists. The portrait of the Rev. Tobias Langdon in the college hall at Exeter excited the admiration of Sir Godfrey Kneller. Gandy may also be credited with having directed and stimulated the rising genius of Sir Joshua Reynolds. Reynolds saw Gandy's pictures early in life, and they made a great impression on his mind; he, like Northcote, often borrowed one of Gandy's portraits, probably the Langdon portrait, to study. His portraits are seldom found out of the west of England. He painted Northcote's grandmother, the Rev. Nathaniel Harding of Plymouth, the Rev. John Gilbert, vicar of St. Andrew's, Plymouth (engraved by Vertue as a frontispiece to Gilbert's ‘Sermons’), John Patch, surgeon in the Exeter Hospital, the Rev. William Musgrave (engraved by Michael van der Gucht), Sir Edward Seaward in the chapel of the poorhouse at Exeter, Sir William Elwill, bart., and others. From his idleness and want of ambition Gandy frequently left his pictures to be finished by others. He died in Exeter, and was buried in St. Paul's Church on 14 July 1729.

[Northcote's notice of Gandy in Appendix to Life of Reynolds; Cotton's Life of Reynolds; Leslie and Taylor's Life and Times of Reynolds; Redgrave's Dict. of Artists.] 

GARBET, SAMUEL (d. 1751?), topographer, born at Norton, in the parish of Wroxeter, Shropshire, was educated at Donnington School and at Christ Church, Oxford, where he entered 12 June 1700, and graduated B.A. 23 May 1704, and M.A. 5 July 1707. He was ordained deacon 22 Sept. 1706, and became curate of Great Nesse. On 11 March 1712 he was elected second master of the free school at Wem, in Shropshire. In 1713 he also became curate of Edstaston. In 1724 he was offered, but declined, the headmastership of the Wem school. In 1742, ‘having [as he says] kept up the credit of the school for thirty years, and being in easy circumstances, he thought fit to retire,’ and devoted himself to the compilation of his ‘History of Wem, and the following Villages and Townships,’ which was published posthumously in 1818 (Wem, 8vo). In 1715 he had published a translation of Phædrus, bks. i. and ii. In 1751 he was still curate of Edstaston (Hist. of Wem, p. 280), and his death may have taken place in or after that year.

He married Anna, daughter of John Edwards of Great Nesse, by whom he had one son, Samuel, who graduated at Christ Church, Oxford, B.A. 1737, M.A. 1743, became curate of Wem and afterwards of Newtown, Shropshire, and died in 1768, being buried at Stoulton, near Worcester. According to Gough (Brit. Topogr. ii. 389) the younger Garbet had the principal hand in