Page:Encyclopædia Britannica, Ninth Edition, v. 11.djvu/209

Rh he often gives sharp expression to a keen, biting humour. He wrote also several prose tales, one of which, Der Spielmann (The Musician), is marked by delicate and graceful fancy. His autobiography, which was written in 1853 and brings down the narrative of his life to 1836, is a model of clear, simple, and elegant prose&thinsp;; and it throws much interesting light both on his personal character and on the tendencies of his time. Among his posthumous writings are many fragments of literary, philosophic, and political criticism, all of them indicating a strong and independent spirit, not invariably just, but distinct, penetrating, and suggestive. It is characteristic of him that he expresses extreme dislike of 's philosophy on the ground that its terms are unintelligible. On the other hand, he gives evidence of careful and sympathetic study of. Of modern literary critics was most repugnant to him, mainly because of the tendency of this writer to attribute  aims to authors who created solely for art's sake. He rather maliciously says that had one advantage and one disadvantage in writing his history of ,&mdash;the advantage of common sense, the disadvantage of knowing nothing of his subject. Of a quiet contemplative nature, Grillparzer shunned general society. He never married. To a stranger he seemed cold and distant, but in conversation with any one he liked his real disposition revealed itself&thinsp;; his manner became animated, his eyes brightened, and a sarcastic but not ill-natured smile would play upon his lips. It was one of his sayings that the art of writing can neither be taught nor learned, but he also held that inspiration will not visit a poet who neglects to make himself master of his subject. Hence before writing a play he worked hard, striving to comprehend the spirit of the age he wished to represent. He was exceedingly fond of travel, and at different times visited all the leading an countries. After 1840, when his solitary comedy was rejected by the public, he almost passed from the memory of his contemporaries. Fortunately for him,, an admirer of his genius, settled in in 1849 as artistic director of the court theatre. By and by Laube reintroduced on the stage some of the forgotten works, and their success was immediate and profound. To his own surprise, Grillparzer became the most popular author of the day&thinsp;; he was ranked with and, and lauded as the national poet of. On the eightieth anniversary of his birthday all classes from the court downwards united to do him honour&thinsp;; never, probably, did exert herself so much to prove her respect for a private citizen. He died on the 21st January 1872, and was buried with an amount of ceremony that surpassed even the pomp displayed at 's funeral. A monument of him has recently been erected at, near.

 GRIMALDI, (1606-1680), an architect and painter, named II Bolognese from the place of his birth, was a relative of the Caracci family, under whom it is presumed he studied first, and afterwards under Albano. He went to Rome, and was appointed architect to Pope Paul V., and patronized by succeeding popes also. Towards 1648 he was invited to France by Cardinal Mazarin, and for about two years was employed in buildings for that minister and for Louis XIV, and in fresco-painting in the Louvre. His colour was strong, somewhat excessive in the use of green ; his touch light. He painted at once history, portraits, and landscape, the last with predilec tion, especially in his advanced years, and executed en gravings and etchings from his own landscapes, and from those of Titian and the Caracci. Returning to Rome, he was made president of the Academy of St Luke ; and in that city he died on 28th November 1680, in high repute not only for his artistic skill but for his upright and charit able deeds as well. His son Alessandro assisted him both in painting and in engraving. Paintings by Grimaldi are preserved in the Quirinal and Vatican palaces, and in the church of S. Martino a Monti ; there is also a series of his landscapes in the Colonna Gallery.

 GRIMM, (1723-1807), the author of the celebrated Correspondence litteraire, was, though a naturalized Frenchman, both of German descent and a native of Germany, having been born of poor parents at Ratisbon, 26th December 1723. He studied at the university of Leipsic, where he had as professor the celebrated Ernesti, to whom he was doubtless in no small degree indebted for his critical appreciation of classical literature. On completing his studies he made his literary debut by a tragedy which was received with ridicule by the audience and by the critics, including Lessing, and which is now forgotten even in Germany. In all probability it was this disappointment which led him to think of seeking his fortune in Paris, whither he accompanied the count of Schonberg as tutor to his sons, and where afterwards, at a small salary, he was for some time reader to the young hereditary prince of Saxe-Gotha. In 1749 he made the acquaintanceship of J. J. Rousseau, which, through a mutual sympathy in regard to musical matters, soon ripened into intimate friendship. Through Rousseau he was introduced to the Encyclopedists, and about the same time he became secretary to Count Friesen, nephew of Marshal Saxe, which gained him admission to the most brilliant society of Paris. Endowed with more than average intellectual abilities, thoroughly versed in all current topics of interest in litera ture, science, and art, gifted with remarkable insight into character, possessing engaging manners and great social tact, and actuated in all his conduct by a keen regard to his own interest, he won almost immediately general appre ciation and respect. He rapidly obtained a thorough knowledge of the French language, and acquired so perfectly the tone and sentiments of the society in which he moved that all marks of his foreign origin and training seemed completely effaced. A wdtty pamphlet entitled Le petit Prophete. de Boehmischbroda, written by him on the respective merits of the Italian and French operas, a subject which at that time greatly exercised the society of Paris and on which he sided with the Italian section, at once firmly established his literary reputation. It is possible that the origin of the pamphlet is partly to be accounted for by his admiration of Mdlle. Fel, the prima donna of the Italian company. This admiration quickly developed into a passion so vehement that he was seized with a kind of catalepsy which continued for several days, but from which he suddenly awoke completely recovered both in body and mind. In 1753 Grimm was engaged by the Abbe 1 Raynal to aid him in conducting his literary correspondence with German sovereigns ; and this opened up to him that sphere for his ambition which perhaps was most in accordance with his peculiar tastes, and in which his abilities best fitted him to excel. Although from the beginning he had the principal share in the work, it was probably conducted until 1759 in the name of the Abbe&quot; Raynal. With the aid of friends during his temporary absences from France, he carried it en until 1790, and it latterly extended to six sovereigns, including the empress of Russia, the king of Sweden, and the king of Poland. It was probably in 1754 that Grimm was introduced by Rousseau to Madame 