Page:Encyclopædia Britannica, Ninth Edition, v. 11.djvu/236

Rh original is invariably Asherah (&quot;&quot;IK), meaning a tree or post (see BAAL, vol. iii. p. 175). The &quot;plain&quot; of Moreh, or Mamre also, in Gen. xii. 6 and xiii. 18, represents fh$, which all modern interpreters render &quot;terebinth.&quot;

 GRUBER, (1774-1851), a learned German author, was born at Naumburg on the Saale, 29th November 1774. He received his education at the town school of Naumburg and the university of Leipsic, after which he resided successively at Gottingen, Leipsic, Jena, and Weimar, occupying himself partly in teaching and partly in various literary enterprises, and enjoying in Weimar the friendship of Herder, Wieland, and Goethe. In 1811 he was appointed professor at the university of Wittenberg, and after the division of Saxony he was sent by the senate to Berlin in connexion with the negotiations for the union of the university of Wittenberg to that of Halle. After the union was effected he became in 1815 professor of philosophy at Halle. On the death of Hufeland he was associated with Ersch in the editorship of the great work Allgemeine Encyklopadie der Wissenschaften iind Kiinste ; and after the death of Ersch he continued the first section from vol. xviii. to vol. liv. He also succeeded Ersch in the editorship of the Allgemeine Liter aturzeitunj. He died 7th August 1851.

 GRÜN, (1806-1876), pseudonym for Anton Alexander, count of Auersperg, who was born April 11, 1806, at Laibach, the capital of the Austrian duchy of Carniola. He received his university education first at Gratz and then at Vienna, where he studied jurisprudence. In 1832 the title of &quot; Imperial Chamberlain &quot; was conferred upon him, and in 1839 he married the daughter of Count Attems. He accepted no official post, and devoted himself chiefly to literary pursuits. When the &quot; March Revolution &quot; broke out in 1848 at Vienna, the count entered the political arena, and represented the district of Laibach at the National Assembly at Frankfort-on-the-Main. After a few months, however, he resigned his seat, and again retired into private life. In 1860, when a fresh impulse was given to political life in Austria, he resumed his activity as a politician, and greatly distinguished himself in the Austrian House of Lords as one of the most intrepid and influential supporters of the cause of liberalism, both in political and religious matters, until his death in 1876. Count Auersperg ac quired great fame as a poet, as which he is known under the pseudonym of Anastasius Griin. His first publication, Blatter der Liebe, &quot; Leaves of Love&quot; (1830), showed little originality ; bat his second production, Der letzte Hitter, &quot; The last Knight &quot; (1830), brought to light his eminence as a poet. It celebrates the deeds and adventures of the emperor Maximilian I. (1493-1519), and contains exquisite poetical descriptions tinged with playful humour. His next poetical productions, Spaziergdnge eines Wiener Poeten, &quot; Walks of a Vienna Poet &quot; (1831), and Schutt, &quot; Ruins &quot; (1835), quite electrified the whole of Germany by the bold ness and originality of their conception and by their decided liberal tendency. His Collected Poems (1837) increased his reputation as a poet, but not so his epics, Die Nile- lungen im FracTc (1843) and Der Pfa/ vom Kahlemberg (1850). He also produced masterly translations of the popular Slovenic songs current in Carniola (1850), and of the English poems relating to &quot;Robin Hood&quot; (1869). Anastasius Griin may be called the originator of the modern school of political lyric poetry in Germany. His language is sonorous and majestic, and his descriptions, though some times overcrowded with imagery, bear the stamp of great poetical originality. He loved to employ the stately &quot;Nibelungen measure,&quot; which imparted considerable vigour to some of his productions. Of his shorter poems Der letzte Dtchter, &quot; The last Poet,&quot; is deservedly the mont popular.

 GRÜN, (c. 1470-1545), commonly called Grün, a painter of the age of Dürer, was born about 1470 at Gmiind in Swabia, and spent the greater part of his life at Strasburg and Freiburg in Breisgau. The earliest pictures assigned to him are altarpieces with the monogram H. B. interlaced, and the date of 1496, in the monastery chapel of Lichtenthal near Baden. Another eorly work is a portrait of the emperor Maximilian, drawn in 1501 on a leaf of a sketch-book now in the print-room at Carlsruhe. The Martyrdom of St Sebastian and the Epiphany (Berlin Museum), fruits of his labour in 1507, were painted for the market-church of Halle in Saxony. In 1509 Griin purchased the freedom of the city of Strasburg, and resided there till 1513, when he moved to Freiburg in Breisgau. There he began a series of large compositions, which he finished in 1516, and placed on the high altar of the Freiburg cathedral. He purchased anew the freedom of Strasburg in 1517, resided in that city as his domicile, and died a member of its great town council 1545. Though nothing is known of Griin s youth and education, it may be inferred from his style that he was no stranger to the school of which Diirer was the chief. Gmiind is but 50 miles distant on either side from Augsburg and Nuremberg. Griin s prints were often mistaken for those of Diirer; and Diirer himself was well acquainted with Griin s woodcuts and copper-plates, in which he traded during his trip to the Netherlands (1520). But Criiri s prints, though Diireresque, are far below Diirer, and his paintings are below his prints. Without absolute correct ness as a draughtsman, his conception of human form is often very unpleasant, whilst a questionable taste is shown in ornament equally profuse and &quot; baroque.&quot; Nothing is more remarkable in his pictures than the pug-like shape of the faces, unless we except the coarseness of the extremities. No trace is apparent of any feeling for atmosphere or light and shade, Though Griin has been commonly called the Correggio of the north, his compositions are a curious medley of glaring and heterogeneous colours, in which pure black is contrasted with pale yellow, dirty grey, impure red, and glowing green. Flesh is a mere glaze under which the features are indicated by lines. No wonder that English collectors should have neglected him. There is not one of his pictures in the whole of Great Britain, unless we accept as genuine a&quot; Youth and Old Age&quot; in the Liverpool Institution, bought by Roscoe as a masterpiece of Antonello da Messina, Even Germans express but slight esteem for Griin ; and if his works have any claims to attention at all, it is merely because of the wild and fantastic strength which some of them display. We may pass lightly over the Epiphany of 1507, the Crucifixion of 1512, or the Stoning of Stephen of 1522, in the Berlin Museum. There is some force in the Dance of Death of 1517, in the museum of Basel, or the Madonna of 1530, in the Lichtenstein Gallery at Vienna. Griin s best effort is the altarpiece of Freiburg, where the Coronation of the Virgin, and the Twelve Apostles, the Annunciation, Visitation, Nativity, and Flight into Egypt, and the Crucifixion, with portraits of donors, are executed with some of that fanciful power which Martin Schon bequeathed to the Swabian school. As a portrait painter he is well known. He drew the likeness of Charles V., as well as that of Maximilian; and his bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden as 