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 life; he lived to preside over the birth and first days of his other creation, the society of Brothers of Common Life. He died of the plague at Deventer in 1384, at the age of 44.

The chief authority for Groot’s life is Thomas à Kempis, Vita Gerardi Magni (translated into English by J. P. Arthur, The Founders of the New Devotion, 1905); also the Chronicon Windeshemense of Johann Busch (ed. K. Grube, 1886). An account, based on these sources, will be found in S. Kettlewell, Thomas à Kempis and the Brothers of Common Life (1882). i. c. 5; and a shorter account in F. R. Cruise, Thomas à Kempis, 1887, pt. ii. An excellent sketch, with an account of Groot’s writings, is given by L. Schulze in Herzog-Hauck, Realencyklopädie (ed. 3); he insists on the fact that Groot’s theological and ecclesiastical ideas were those commonly current in his day, and that the attempts to make him “a reformer before the Reformation” are unhistorical.

 GROOVE-TOOTHED SQUIRREL, a large and brilliantly coloured Bornean squirrel, Rhithrosciurus macrotis, representing a genus by itself distinguished from all other members of the family Sciuridae by having numerous longitudinal grooves on the front surface of the incisor teeth; the molars being of a simpler type than in other members of the family. The tail is large and fox-like, and the ears are tufted and the flanks marked by black and white bands.  GROS, ANTOINE JEAN, (1771–1835), French painter, was born at Paris in 1771. His father, who was a miniature painter, began to teach him to draw at the age of six, and showed himself from the first an exacting master. Towards the close of 1785 Gros, by his own choice, entered the studio of David, which he frequented assiduously, continuing at the same time to follow the classes of the Collège Mazarin. The death of his father, whose circumstances had been embarrassed by the Revolution, threw Gros, in 1791, upon his own resources. He now devoted himself wholly to his profession, and competed in 1792 for the grand prix, but unsuccessfully. About this time, however, on the recommendation of the École des Beaux Arts, he was employed on the execution of portraits of the members of the Convention, and when—disturbed by the development of the Revolution—Gros in 1793 left France for Italy, he supported himself at Genoa by the same means, producing a great quantity of miniatures and fixés. He visited Florence, but returning to Genoa made the acquaintance of Josephine, and followed her to Milan, where he was well received by her husband. On November 15, 1796, Gros was present with the army near Arcola when Bonaparte planted the tricolor on the bridge. Gros seized on this incident, and showed by his treatment of it that he had found his vocation. Bonaparte at once gave him the post of “inspecteur aux revues,” which enabled him to follow the army, and in 1797 nominated him on the commission charged to select the spoils which should enrich the Louvre. In 1799, having escaped from the besieged city of Genoa, Gros made his way to Paris, and in the beginning of 1801 took up his quarters in the Capucins. His “esquisse” (Musée de Nantes) of the “Battle of Nazareth” gained the prize offered in 1802 by the consuls, but was not carried out, owing it is said to the jealousy of Junot felt by Napoleon; but he indemnified Gros by commissioning him to paint his own visit to the pest-house of Jaffa. “Les Pestiférés de Jaffa” (Louvre) was followed by the “Battle of Aboukir” 1806 (Versailles), and the “Battle of Eylau,” 1808 (Louvre). These three subjects—the popular leader facing the pestilence unmoved, challenging the splendid instant of victory, heart-sick with the bitter cost of a hard-won field—gave to Gros his chief title to fame. As long as the military element remained bound up with French national life, Gros received from it a fresh and energetic inspiration which carried him to the very heart of the events which he depicted; but as the army and its general separated from the people, Gros, called on to illustrate episodes representative only of the fulfilment of personal ambition, ceased to find the nourishment necessary to his genius, and the defect of his artistic position became evident. Trained in the sect of the Classicists, he was shackled by their rules, even when—by his naturalistic treatment of types, and appeal to picturesque effect in colour and tone—he seemed to run counter to them. In 1810 his “Madrid” and “Napoleon at the Pyramids” (Versailles) show that his star had deserted him. His “Francis I.” and “Charles V.,” 1812 (Louvre), had considerable success; but the decoration of the dome of St Geneviève (begun in 1811 and completed in 1824) is the only work of Gros’s later years which shows his early force and vigour, as well as his skill. The “Departure of Louis XVIII.” (Versailles), the “Embarkation of Madame d’Angoulême” (Bordeaux), the plafond of the Egyptian room in the Louvre, and finally his “Hercules and Diomedes,” exhibited in 1835, testify only that Gros’s efforts—in accordance with the frequent counsels of his old master David—to stem the rising tide of Romanticism, served but to damage his once brilliant reputation. Exasperated by criticism and the consciousness of failure, Gros sought refuge in the grosser pleasures of life. On the 25th of June 1835 he was found drowned on the shores of the Seine near Sèvres. From a paper which he had placed in his hat it became known that “las de la vie, et trahi par les dernières facultés qui la lui rendaient supportable, il avait résolu de s’en défaire.” The number of Gros’s pupils was very great, and was considerably augmented when, in 1815, David quitted Paris and made over his own classes to him. Gros was decorated and named baron of the empire by Napoleon, after the Salon of 1808, at which he had exhibited the “Battle of Eylau.” Under the Restoration he became a member of the Institute, professor at the École des Beaux Arts, and was named chevalier of the order of St Michel.

M. Delécluze gives a brief notice of his life in Louis David et son temps, and Julius Meyer’s Geschichte der modernen französischen Malerei contains an excellent criticism on his works.

 GROSART, ALEXANDER BALLOCH (1827–1899), Scottish divine and literary editor, the son of a building contractor, was born at Stirling on the 18th of June 1827. He was educated at Edinburgh University, and in 1856 became a Presbyterian minister at Kinross. In 1865 he went to Liverpool, and three years later to Blackburn. He resigned from the ministry in 1892, and died at Dublin on the 16th of March 1899. Dr Grosart is chiefly remembered for his exertions in reprinting much rare Elizabethan literature, a work which he undertook in the first instance from his strong interest in Puritan theology. Among the first writers whose works he edited were the Puritan divines, Richard Sibbes, Thomas Brooks and Herbert Palmer. Editions of Michael Bruce’s Poems (1865) and Richard Gilpin’s Demonologia sacra (1867) followed. In 1868 he brought out a bibliography of the writings of Richard Baxter, and from that year until 1876 he was occupied in reproducing for private subscribers the “Fuller Worthies Library,” a series of thirty-nine volumes which included the works of Thomas Fuller, Sir John Davies, Fulke Greville, Henry Vaughan, Andrew Marvell, George Herbert, Richard Crashaw, John Donne and Sir Philip Sidney. The last four volumes of the series were devoted to the works of many little known and otherwise inaccessible authors. His Occasional Issues of Unique and Very Rare Books (1875–1881) is of the utmost interest to the book-lover. It included among other things the Annalia Dubrensia of Robert Dover. In 1876 still another series, known as the “Chertsey Worthies Library,” was begun. It included editions of the works of Nicholas Breton, Francis Quarles, Dr Joseph Beaumont, Abraham Cowley, Henry More and John Davies of Hereford. Grosart was untiring in his enthusiasm and energy for this kind of work. The two last-named series were being produced simultaneously until 1881, and no sooner had they been completed than Grosart began the “Huth Library,” so called from the bibliophile Henry Huth, who possessed the originals of many of the reprints. It included the works of Robert Greene, Thomas Nash, Gabriel Harvey, and the prose tracts of Thomas Dekker. He also edited the complete works of Edmund Spenser and Samuel Daniel. From the Townley Hall collection he reprinted several MSS. and edited Sir John Eliot’s works, Sir Richard Boyle’s Lismore Papers, and various publications for the Chetham Society, the Camden Society and the Roxburghe Club. Dr Grosart’s faults of style and occasional inaccuracy do not seriously detract from the immense value of his work. He was unwearied in searching for rare books, and he brought to light much interesting literature, formerly almost inaccessible. 