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GAD which capacity he made a successful tour. He gained the friendship of Mendelssohn at Leipsic, under whose auspices his merits as a composer were first brought into public notice. Through the influence of that great musician, some of the works of Gade were performed at the famous Gewandhaus concerts, and this quickly established his reputation. On Mendelssohn's death in 1847, Gade was appointed to succeed him as conductor of those celebrated Leipsic concerts; but he resigned this post in 1850, when he established in Copenhagen a series of performances modelled on those of the Gewandhaus, the direction of which necessitated his constant presence. He was invited to a similar office in Stockholm, which, for the same reason, he was obliged to refuse. In 1851 he was invested with the order of the Danebrog by the king of Denmark, in honour of his artistic merits, and in consideration of his establishing the philharmonic concerts in Copenhagen. In 1853 he undertook to divide the conductorship of the Gewandhaus concerts with Julius Rietz. His principal compositions are his six symphonies—in C minor, in E, in A minor, in B flat, in D minor, and in G minor; his overtures—"Ossian's Klänge," and "Im Hochland;" a cantata, the subject taken from Ossian, called "Comala;" another cantata, founded on a Danish legend, called "The Erl King's Daughter;" an octet in F, and a quintet in E, for string instruments; some pieces for the organ; two sonatas in A and in D for pianoforte duet, and one in B minor for pianoforte solo; a large number of smaller pianoforte pieces, including "Nordische Tonbilder," "Frühlingsblumen," "Aquarellen," "Scandinavische Volkslieder Sylphiden," "Arabeske Volkstänze," "Idyllen," "Novelletten," and "Frulings Botschaft"—each a collection of several morceaux; and very many part songs, and songs for a single voice with pianoforte.—G. A. M.  GADEBUSCH,, a German writer, born at Altenfaren in the island of Rugen in 1719. Having finished his education at Hamburg and Königsberg, he followed the profession of a notary at Dorpat in Russia. Attracting the notice of the Empress Catherine II., he was appointed to a legislative office in Moscow. Returning to Dorpat, he was elected a member of the consistory and chief magistrate of that town, where he died in 1788. He left a number of works, complete and incomplete, chiefly on the history of Livonia.—R. D., B.  GAENSBACHER,, a musician, was born at Sterzing in the Tyrol, 8th May, 1778, and died in Vienna in 1844. He was the intimate friend of C. M. von Weber and Meyerbeer, whose acquaintance he made while he was their fellow-student, under the famous Abbé Vogla. He was initiated in music by his father, who followed this art as a profession; in 1786 he was engaged as a chorister at Innspruck, and in 1789 he removed to Botzen, where he studied the organ, the violin, and the violoncello. At the college of this town he passed through a course of literary studies, and was appointed one of the instructors; but to increase his opportunities of reading, he returned to Innspruck in 1795, where he produced several musical compositions, though he supported himself chiefly by teaching the pianoforte. When the French invaded Austria Gänsbacher joined a band of volunteers in defence of the country, was appointed commander of a small corps, and received the gold medal in recognition of his services. In 1802 he went to Vienna, to take lessons of Vogla on his peculiar system of harmony, and there he met with a steadfast friend and constant patron in Count Firmian, for the obsequies of whose wife, some years later, he composed a requiem. In 1803 he became the pupil for counterpoint of Albrechtsberger, and in 1810 he placed himself a second time under the instruction of Vogla, then resident at Darmstadt, where he met with the illustrious musicians whose intimacy gives interest to his name. Gänsbacher resumed his military career in 1813, when he served in the rank of captain against Murat, then king of Naples, for which he received a gold medal in 1817. The office of kapellmeister of St. Stephen's cathedral at Vienna became vacant by the death of Preindl in 1823, when Gänsbacher succeeded to it, and he held it till his death. He was a voluminous composer; wrote much for the church, some works for the orchestra, some for the pianoforte and other solo instruments, a few pieces for the theatre, and very many songs; and into all his productions infused considerable grace.—G. A. M.  GAERTNER,, son of Johann Andreas, was born at Coblentz in 1792. In 1809 he entered the Munich Academy of Arts, in order to study architecture; in 1812 he went to Paris, where he studied in the academy under Percier; and two years later he proceeded to Italy, where he remained four years, and thence to England. Returning to Munich, he published in 1819 a series of lithographic drawings, with explanatory notes, of the Greek monuments in Sicily. In 1820 Gaertner was appointed professor of architecture in the Munich academy, and thenceforth he made that city his residence. Gradually Gaertner acquired the confidence of the king (Ludwig), whose most cherished purpose was to render his capital a grand centre of modern art. The first great work he was employed by the king to execute was the Ludwigs-Kirche, a large church in the Byzantine style. From this time Gaertner found ample employment in designing and superintending buildings of various kinds for the king. Among the many edifices designed by him, were the new university, Florentine renaissance; the Wittelsbach palace, a red-brick fourteenth century building; the royal library, a large Romanesque pile; the record office; the Salzaint; the Feldherrenhalle, a copy of the Loggia de' Lanzi at Florence; the Siegesthor, a free copy of the arch of Constantine; and other of the buildings which have contributed so largely to the recent celebrity of Munich. Among his works outside that city may be mentioned, the Pompeian villa at Aschaffenberg; the Befreiungshalle, on the summit of the Michaelsberg at Kelheim—a rotunda temple erected to commemorate the war of liberation; and the pump-room at Kissengen. He also restored the cathedrals of Bamberg and Regensburg, and the old Iser-Thor at Munich. King Ludwig, being desirous to study the monuments of Greece, in 1836 selected Gaertner to accompany him; and whilst at Athens he made designs for a new palace for King Otho. Shortly after his return from Greece, Gaertner was nominated court architect, and had conferred upon him the prefix of Von, and the order of civil merit of Bavaria. Though essentially an architect, Gaertner's art-services were not confined to architecture. Appointed in 1822 director of the royal porcelain factory at Munich, it was to his exertions that the superior character of the designs executed there was mainly due. He also took an active part in the foundation of the school of glass-painting, for which Munich is now so celebrated; and he gave much attention to the interior decorations of buildings. In 1841 he succeeded Cornelius as the director of the Munich Academy of Arts, an office he filled with distinction till his death, 21st April, 1847. Gaertner and Klenze are the two architects whose works and influence placed Munich for a while at the head of German architecture, and made Munich itself a centre of attraction for the architectural student as well as the pleasure tourists of Europe. Gaertner, as we have seen, worked in many styles, but his own inclination was evidently towards the Romanesque, taking that of central Italy for his type. The designs of his more important buildings have been published.—J. T—e.  GAERTNER,, a German architect, born at Dresden in 1743. Descended from a family of architects, he obtained a higher reputation than any of his ancestors, but will probably be remembered chiefly as the father of his more illustrious son. After visiting various capitals without finding adequate professional opportunities, he was invited to Coblentz to complete the electoral palace. He then entered the service of the prince-bishop of Würzburg, in whose capital he erected a church, a theatre, and several other buildings, which have been much praised. In 1804 he removed to Munich on being appointed superintendent of the court buildings, but erected no building of any consequence there. He died in 1826.—J. T—e.  GAERTNER,, a German botanist, was born at Calw, March 22, 1739, and died 13th July, 1791. He prosecuted the study of medicine first at Tübingen and then at Göttingen. After acquiring the title of doctor he visited Italy, France, and Britain. About 1760 he became professor of anatomy at Tübingen. In 1768 he was elected professor of botany at St. Petersburg, and director of the botanic garden there. As the climate of Russia did not suit him, he soon relinquished these appointments and returned to Germany, where he devoted himself to the study of botany, and more especially to carpology, or the characters and structure of fruits. He made important contributions to botanical science, more particularly as regards the seeds and the embryos of plants. His work on fruits and seeds is still an authority. It is illustrated by one hundred and eighty copperplates.—J. H. B.  GAERTNER,, a German litterateur, was born at Freiberg in Saxony, November 24, 1712, and studied at 