Page:Imperialdictiona02eadi Brandeis.pdf/732

GOZ the exquisite volumes of Maurice Sand on the Italian comedy, Masques et Bouffons, Paris, 1860, there is a chapter full of eloquence and acute criticism, but scarcely warm enough for the claims of this remarkable and original dramatist.—D. F. M'C.  GOZZI,, Count, born at Venice on the 20th of December, 1713. Having completed his scholastic course at the college of Murano, he went to study law under Ortolani, and mathematics under Paitoni, devoting, however, the greater part of his time to the culture of belles-lettres. In his poetical strains he took for a model Laura's bard, and the object of his platonic love was Luigia Bergalli, a lady whom he married afterwards, and to whose careless and extravagant habits he owed all his misfortunes. Having through bad management lost almost all his patrimony, Gasparo was compelled to work very hard for the maintenance of a numerous family, and therefore he passed daily many hours busily engaged in the translation of all the new French plays that appeared then on the stage, receiving from his publisher but a scanty reward. The poverty to which he was reduced, combined with that continual occupation, preyed so much on his mind, that, in a moment of desperation, he threw himself from a window into a river. The shock, however, instead of proving fatal, restored him to reason, and he returned to his avocation, and wrote then his best literary productions. No one could glance over Gozzi's works, whether in prose or in verse, without perceiving at once a masterly hand; for none can surpass him in the art of depicting the human heart, in the purity of language, or elegance of diction. His celebrated "Sermoni," written in Horace's style, reveal to us a lofty mind, highly imbued with classic lore; and "Il Mondo Morale," an elaborate and serious work, shows the wonderful organization of a philosophical mind. His version of Lucan is considered incomparable, and his commentaries and notes on Dante's Divina Commedia, published under the title of Difesa di Dante, rank him amongst the first commentators of that immortal poem. Gozzi's style changes with the subject he treats of—now diffuse and simple as in Dante's commentaries; now terse and argumentative as in his "Mondo Morale;" now simple and copious as in his "Osservatore Veneziano," a periodical he published in imitation of the Spectator; and his language is always harmonious and classic. He had obtained the supervisorship of the Venetian press, when he died on the 25th of December, 1786.—A. C. M.  GOZZOLI,, a celebrated old Italian painter, born at Florence in 1424, and the most distinguished of the scholars of Fra Giovanni Angelico; he was the assistant of Era Giovanni at Orvieto. Benozzo's works extend over a period of thirty-eight years, from 1447 to 1485; his last and greatest are the extensive series of frescoes in the Campo Santo at Pisa, commenced in 1469, and representing in twenty-four compositions the old Bible history from Noah to the visit of the queen of Sheba to Solomon. In these works he displays the most varied resources, showing for the time a very extraordinary skill in the treatment of the accessary parts, as the landscapes, the architecture, and the birds and animals introduced, of which the dogs are particularly excellent. This character of Benozzo's works is somewhat remarkable as being so opposed in spirit to the performances of his master Fra Angelico, whose style is exclusively sentimental or "subjective," while that of Benozzo is thoroughly "objective." Some of the best of these frescoes are engraved in Count Lasimo's Pitture a fresco del Campo Santo di Pisa. The painter gave so much satisfaction to the authorities of the Campo on this occasion, that in 1478 they presented him with a free burial-place near the glorious achievements of his life, and the tomb was engraved with the following words during Benozzo's lifetime, "Hic Tumulus est Benotii Florentini, qui proxime has pinxit historias. Hunc sibi Pisanorum donavit humanitas. ." The date of Benozzo's death is not known. The National Gallery is fortunate in possessing two very interesting examples of this painter, both in tempera—a small characteristic piece, which had formerly been the top of a box or cassettone, and represents the "Rape of Helen;" the other is a small altarpiece of the "Virgin and Child, with saints," originally painted in 1461 for the Compagnia di San Marco at Florence. In the original contract the figure of the Virgin is expressly directed to be painted from the Virgin in the high altarpiece of San Marco, painted by his muster Fra Angelico. The figure of the Virgin is to be made similar in mode, form, and ornaments. "It is also directed that the said Benozzo shall at his own cost prepare with gesso, and diligently gild the said panel throughout, both as regards figures and ornaments; and that no other painter shall be allowed to take part in the execution of the said picture." Benozzo's style, to judge from these examples, is hard and formal, the figures being symmetrically disposed in the altarpiece; but his colouring is rich, his costume elaborate, and the drawing of his figures correct and vigorous, though wanting in taste and elegance.—R. N. W.  GRAAF,, a celebrated Dutch anatomist, born at Shoonhove in 1641. He studied medicine at the university of Leyden, then travelled through France, received his degree at Angers, and remained for some time at Paris in intimate intercourse with the most distinguished savans of the day. Returned to Holland, he settled as physician in the city of Delft, where he died in 1673. He made himself a name chiefly by his careful anatomical investigations of the salivary gland of the womb (Bauchspeicheldrüse), and by the discovery of the "Graafschen bläschen" in the female ovary. There are various editions of his works; the best are "Opera omnia," 8vo, Leyden, 1677-78; Amsterdam, 1705.—F. M.  GRABBE,, a German dramatist, was born at Detmold, December 14, 1801. He studied law at Berlin and Leipsic, but afterwards exclusively devoted himself to literary pursuits. His poetic powers were of no common order, but were impaired by the fickleness and irregularity which characterized his conduct. He fell a victim to habitual intoxication, September 12, 1836.—(Life by Duller and Ziegler, 1855.)—K. E.  GRABE,, was the son of Martin Sylvester Grabe, professor of history and theology in Königsberg, and was born there, 10th July, 1666. He was educated in the university of that city, and early conceived a leaning to the Church of Rome. With this tendency he devoted himself to the study of the Fathers, and at length came to the conclusion that the Reformation of the sixteenth century was a schism, the blame of which rested upon the leading reformers, whom he compared to the Simonians, the Novatians, and other heretics of the early church. He sent in a paper to this effect to the consistory of Samland, and set out for Vienna with the view of formally reconciling himself to the Church of Rome. But his purpose was shaken by an answer to his paper, which was drawn up in 1695 by Spener and others by command of the elector of Brandenburg; and as he still continued to lay great stress upon the principle of apostolic succession as essential to the validity of orders, he followed the advice of Spener, who represented to him that there was no need he should join the Church of Rome on this account, for he could find in England a branch of the protestant church which laid claim to an unbroken succession of the episcopate. Passing through Silesia and Saxony he arrived in England, where he joined himself to the communion of the Anglican church, which he came to regard as approaching the nearest in its government and ritual to the apostolic church. He never received, however, any preferment in the church, but was only admitted by Queen Anne to a yearly pension of £100. In person he was small, and in temperament melancholic; but he possessed great learning, particularly in patristic theology. He died in London, 3rd November, 1706. His principal writings are—"Spicilegium patrum ut et hæreticorum primi, secundi, et tertii a Christo nato seculi;" "Justini Martyris Apologia prima, cum notis Variorum;" "Epistola ad Johan. Millium de Codice Alexandrine Sept. interpretum;" an Essay upon two Arabic MSS. In the preface to the "Spicilegium" he speaks warmly of the hospitality which he experienced at Oxford, of the freedom with which he enjoyed access to all its learned treasures, and particularly of the aid and encouragement in his labours which he received from John Mill, Henry Aldrich, and John Hudson.—P. L.  GRABERG, was born in Hemsö in Gottland. In 1793 he took service in the English fleet, which, in consequence of a duel, he was obliged to quit after two years. He then settled at Genoa, where he connected himself with trade and the Swedish consulate. In the meantime he travelled in Italy, South Germany, and Hungary, and made himself known as the author of various historical and statistical works. In 1811 he was appointed vice-consul, and in 1815 consulate-secretary in Tangier. In 1823 he was made consul of Tripolis, and retired with a pension in 1828. He then established himself in Tuscany, was appointed chamberlain at the Tuscan court, and died at Florence, 29th November, 1847. Amongst his many works in various languages may be mentioned "Saggio istorico sugli Scaldi o antichi poeti Scandinavi;" "Theorie de la Statisque;" "La Scandinavie vengée;" "Notizia intorno a la famosa opera istorica 