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 La Pluie et le beau temps (1861), and Une Tempête dans un verre d’eau (1850), two curtain-raisers which have kept the stage; Le Lion empaillé (1848), La Queue du chien d’Alcibiade (1849), Louise de Nanteuil (1854), Le Gâteau des reines (1855), Les Paniers de la comtesse (1852); and he adapted several of his own novels to the stage. Gozlan also wrote a romantic and picturesque description of the old manors and mansions of his country entitled Les Châteaux de France (2 vols., 1844), originally published (1836) as Les Tourelles, which has some archaeological value, and a biographical essay on Balzac (Balzac chez lui, 1862). He was made a member of the Legion of Honour in 1846, and in 1859 an officer of that order. Gozlan died on the 14th of September 1866, in Paris.

GOZO, an island of the Maltese group in the Mediterranean Sea, second in size to Malta. It lies N.W. and 3 m. from the nearest point of Malta, is of oval form, 8 m. in length and 4 m. in extreme breadth, and has an area of nearly 25 m. Its chief town, Victoria, formerly called Rabato (pop. in 1901, 5057) stands near the middle of the island on one of a cluster of steep conical hills, 3 m. from the port of Migiarro Bay, on the south-east shore, below Fort Chambray. The character of the island is similar to that of Malta. The estimated population in 1907 was 21,911.

GOZZI, CARLO, (1722–1806), Italian dramatist, was descended from an old Venetian family, and was born at Venice in March 1722. Compelled by the embarrassed condition of his father’s affairs to procure the means of self-support, he, at the age of sixteen, joined the army in Dalmatia; but three years afterwards he returned to Venice, where he soon made a reputation for himself as the wittiest member of the Granelleschi society, to which the publication of several satirical pieces had gained him admission. This society, nominally devoted to conviviality and wit, had also serious literary aims, and was especially zealous to preserve the Tuscan literature pure and untainted by foreign influences. The displacement of the old Italian comedy by the dramas of Pietro Chiari (1700–1788) and Goldoni, founded on French models, threatened defeat to all their efforts; and in 1757 Gozzi came to the rescue by publishing a satirical poem, Tartana degli influssi per l’anno bisestile, and in 1761 by his comedy, Fiaba dell’ amore delle tre melarancie, a parody of the manner of the two obnoxious poets, founded on a fairy tale. For its representation he obtained the services of the Sacchi company of players, who, on account of the popularity of the comedies of Chiari and Goldoni—which afforded no scope for the display of their peculiar talents—had been left without employment; and as their satirical powers were thus sharpened by personal enmity, the play met with extraordinary success. Struck by the effect produced on the audience by the introduction of the supernatural or mythical element, which he had merely used as a convenient medium for his satirical purposes, Gozzi now produced a series of dramatic pieces based on fairy tales, which for a period obtained great popularity, but after the breaking up of the Sacchi company were completely disregarded. They have, however, obtained high praise from Goethe, Schlegel, Madame de Staël and Sismondi; and one of them, Re Turandote, was translated by Schiller. In his later years Gozzi set himself to the production of tragedies in which the comic element was largely introduced; but as this innovation proved unacceptable to the critics he had recourse to the Spanish drama, from which he obtained models for various pieces, which, however, met with only equivocal success. He died on the 4th of April 1806.

GOZZI, GASPARO, (1713–1786), eldest brother of Carlo Gozzi, was born on the 4th of December 1713. In 1739 he married the poetess Luise Bergalli, and she undertook the management of the theatre of Sant’ Angelo, Venice, he supplying the performers with dramas chiefly translated from the French. The speculation proved unfortunate, but meantime he had attained a high reputation for his contributions to the Gazzetta Veneta, and he soon came to be known as one of the ablest critics and purest and most elegant stylists in Italy. For a considerable period he was censor of the press in Venice, and in 1774 he was appointed to reorganize the university system at Padua. He died at Padua on the 26th of December 1786.

GOZZOLI, BENOZZO, Italian painter, was born in Florence in 1424, or perhaps 1420, and in the early part of his career assisted Fra Angelico, whom he followed to Rome and worked with at Orvieto. In Rome he executed in Santa Maria in Aracoeli a fresco of “St Anthony and Two Angels.” In 1449 he left Angelico, and went to Montefalco, near Foligno in Umbria. In S. Fortunato, near Montefalco, he painted a “Madonna and Child with Saints and Angels,” and three other works. One of these, the altar-piece representing “St Thomas receiving the Girdle of the Virgin,” is now in the Lateran Museum, and shows the affinity of Gozzoli’s early style to Angelico’s. He next painted in the monastery of S. Francesco, Montefalco, filling the choir with a triple course of subjects from the life of the saint, with various accessories, including heads of Dante, Petrarch and Giotto. This work was completed in 1452, and is still marked by the style of Angelico, crossed here and there with a more distinctly Giottesque influence. In the same church, in the chapel of St Jerome, is a fresco by Gozzoli of the Virgin and Saints, the Crucifixion and other subjects. He remained at Montefalco (with an interval at Viterbo) probably till 1456, employing Mesastris as assistant. Thence he went to Perugia, and painted in a church a “Virgin and Saints,” now in the local academy, and soon afterwards to his native Florence, the headquarters of art. By the end of 1459 he had nearly finished his important labour in the chapel of the Palazzo Riccardi, the “Journey of the Magi to Bethlehem,” and, in the tribune of this chapel, a composition of “Angels in a Paradise.” His picture in the National Gallery, London, a “Virgin and Child with Saints,” 1461, belongs also to the period of his Florentine sojourn. Another small picture in the same gallery, the “Rape of Helen,” is of dubious authenticity. In 1464 Gozzoli left Florence for S. Gimignano, where he executed some extensive works; in the church of S. Agostino, a composition of St Sebastian protecting the City from the Plague of this same year, 1464; over the entire choir of the church, a triple course of scenes from the legends of St Augustine, from the time of his entering the school of Tegaste on to his burial, seventeen chief subjects, with some accessories; in the Pieve di S. Gimignano, the “Martyrdom of Sebastian,” and other subjects, and some further works in the city and its vicinity. Here his style combined something of Lippo Lippi with its original elements, and he received co-operation from Giusto d’Andrea. He stayed in this city till 1467, and then began, in the Campo Santo of Pisa, from 1469, the vast series of mural paintings with which his name is specially identified. There are twenty-four subjects from the Old Testament, from the “Invention of Wine by Noah” to the “Visit of the Queen of Sheba to Solomon.” He contracted to paint three subjects per year for about ten ducats each—a sum which may be regarded as equivalent to