VOLUME XI SLICE VIII Germany to Gibson, William (continued 8)

GHEEL, or Geel, a town of Belgium, about 30 m. E. of Antwerp and in the same province. Pop. (1904) 14,087. It is remarkable on account of the colony of insane persons which has existed there for many centuries. The legend reads that in the year 600 Dymphna, an Irish princess, was executed here by her father, and in consequence of certain miracles she had effected she was canonized and made the patron saint of the insane. The old Gothic church is dedicated to her, and in the choir is a shrine, enclosing her relics, with fine panel paintings representing incidents in her life by, probably, a contemporary of Memling. The colony of the insane is established in the farms and houses round the little place within a circumference of 30 m. and is said to have existed since the 13th century. This area is divided into four sections, each having a doctor and a superintendent attached to it. The Gheel system is regarded as the most humane method of dealing with the insane who have no homicidal tendencies, as it keeps up as long as possible their interest in life.

GHENT (Flem. Gent, Fr. Gand), the capital of East Flanders, Belgium, at the junction of the Scheldt and the Lys (Ley). Pop. (1880) 131,431, (1904) 162,482. The city is divided by the rivers (including the small streams Lieve and Moere) and by canals, some navigable, into numerous islands connected by over 200 bridges of various sorts. Within the limits of the town, which is 6 m. in circumference, are many gardens, meadows and promenades; and, though its characteristic lanes are gloomy and narrow, there are also broad new streets and fine quays and docks. The most conspicuous building in the city is the cathedral of St Bavon1 (Sint Baafs), the rich interior of which contrasts strongly with its somewhat heavy exterior. Its crypt dates from 941, the choir from 1274-1300, the Late Gothic choir chapels from the 15th century, and the nave and transept from 1533-1554. Among the treasures of the church is the famous “Worship of the Lamb” by Hubert and Jan van Eyck. Of the original 12 panels, taken to France during the Revolutionary Wars, only 4 are now here, 6 being in the Berlin museum and two in that of Brussels. Among the other 55 churches may be mentioned that of St Nicholas, an Early Gothic building, the oldest church in date of foundation in Ghent, and that of St Michael, completed in 1480, with an unfinished tower. In the centre of the city stands the unfinished Belfry (Beffroi), a square tower some 300 ft. high, built 1183-1339. If has a cast-iron steeple (restored in 1854), on the top of which is a gold dragon which, according to tradition, was brought from Constantinople either by the Varangians or by the emperor Baldwin after the Latin conquest. Close to it is the former Cloth-hall, a Gothic building of 1325. The hôtel-de-ville consists of two distinct parts. The northern façade, a magnificent example of Flamboyant Gothic, was erected between 1518 and 1533, restored in 1829 and again some fifty years later. The eastern façade overlooking the market-place was built in 1595-1628, in the Renaissance style, with three tiers of columns. It contains a valuable collection of archives, from the 13th century onwards. On the left bank of the Lys is the Oudeburg (s’Gravenstein, Château des Contes), the former castle of the first counts of Flanders, dating from 1180 and now restored. The château of the later counts, in which the emperor Charles V. was born, is commemorated only in the name of a street, the Cours des Princes.

To the north of the Oudeburg, on the other side of the Lys, is the Marché du Vendredi, the principal square of the city. This was the centre of the life of the medieval city, the scene of all great public functions, such as the homage of the burghers to the counts, and of the auto-da-fés under the Spanish regime. In it stands a bronze statue of Jacob van Artevelde, by Devigne-Quyo, erected in 1863. At a corner of the square is a remarkable cannon, known as Dulle Griete (Mad Meg), 19 ft. long and 11 ft. in circumference. It is ornamented with the arms of Philip the Good, duke of Burgundy, and must have been cast between 1419 and 1467. On the Scheldt, near the Place Laurent, is the Geerard-duivelsteen (château of Gerard the Devil), a 13th-century tower formerly belonging to one of the patrician families, now restored and used as the office of the provincial records. Of modern buildings may be mentioned the University (1826), the Palais de Justice (1844), and the new theatre (1848), all designed by Roelandt, and the Institut des Sciences (1890) by A. Pauli. In the park on the site of the citadel erected by Charles V. are some ruins of the ancient abbey of St Bavon and of a 12th-century octagonal chapel dedicated to St Macharius. In the park is also situated the Museum of Fine Arts, completed in 1902.

One of the most interesting institutions of Ghent is the great Béguinage (Begynhof) which, originally established in 1234 by the Bruges gate, was transferred in 1874 to the suburb of St Amandsberg. It constitutes a little town of itself, surrounded by walls and a moat, and contains numerous small houses, 18 convents and a church. It is occupied by some 700 Beguines, women devoted to good works (see Beguines). Near the station is a second Béguinage with 400 inmates. In addition to these there were in Ghent in 1901 fifty religious houses of various orders.

As a manufacturing centre Ghent, though not so conspicuous as it was in the middle ages, is of considerable importance. The main industries are cotton-spinning, flax-spinning, cotton-printing, tanning and sugar refining; in addition to which there are iron and copper foundries, machine-building works, breweries and factories of soap, paper, tobacco, &c. As a trading centre the city is even more important. It has direct communication with the sea by a ship-canal, greatly enlarged and deepened since 1895, which connects the Grand Basin, stretching along the north side of the city, with a spacious harbour excavated at Terneuzen on the Scheldt, 21½ m. to the north, thus making Ghent practically a sea-port; while a second canal, from the Lys, connects the city via Bruges with Ostende.

Among the educational establishments is the State University, founded by King William I. of the Netherlands in 1816. With it are connected a school of engineering, a school of arts and industries and the famous library (about 300,000 printed volumes and 2000 MSS.) formerly belonging to the city. In addition there are training schools for teachers, an episcopal seminary, a conservatoire and an art academy with a fine collection of pictures mainly taken from the religious houses of the city on their suppression in 1795. The oldest Belgian newspaper, the Gazet van Gent, was founded here in 1667.

History.—The history of the city is closely associated with that of the countship of Flanders (q.v.), of which it was the seat. It is mentioned so early as the 7th century and in 868 Baldwin of the Iron Arm, first count of Flanders, who had been entrusted by Charles the Bald with the defence of the northern marches, built a castle here against the Normans raiding up the Scheldt. This was captured in 949 by the emperor Otto I. and was occupied by an imperial burgrave for some fifty years, after which it was retaken by the counts of Flanders. Under their protection, and favoured by its site, the city rapidly grew in wealth and population, the zenith of its power and prosperity being reached between the 13th and 15th centuries, when it was the emporium of the trade of Germany and the Low Countries, the centre of a great cloth industry, and could put some 20,000 armed citizens into the field. The wealth of the burghers during this period was equalled by their turbulent spirit of independence; feuds were frequent,—against the rival city of Bruges, against the counts, or, within the city itself, between the plebeian crafts and the patrician governing class. Of these risings the most notable was that, in the earlier half of the 14th century, against Louis de Crécy, count of Flanders, under the leadership of Jacob van Artevelde (q.v.).

The earliest charter to the citizens of Ghent was that granted by Count Philip of Flanders between 1169 and 1191. It did little more than arrange for the administration of justice by nominated jurats (scabini) under the count’s bailli. Far more comprehensive was the second charter, granted by Philip’s widow Mathilda, after his death on crusade in 1191, as the price paid for the faithfulness of the city to her cause. The magistrates of the city were still nominated scabini (fixed at thirteen), but their duties and rights were strictly defined and the liberties of the citizens safe-guarded; the city, moreover, received the right to fortify itself and even individuals within it to fortify their houses. This charter was confirmed and extended by Count Baldwin VIII. when he took over the city from Mathilda, an important new provision being that general rules for the government of the city were only to be made by arrangement between the count or his officials and the common council of the citizens. The burghers thus attained to a very considerable measure of self-government. A charter of 1212 of Count Ferdinand (of Portugal) and his wife Johanna introduced a modified system of election for the scabini; a further charter (1228) fixed the executive at 39 members, including scabini and members of the commune, and ordained that the bailli of the count and his servientes, like the podestàs of Italian cities, were not to be natives of Ghent.

Thus far the constitution of the city had been wholly aristocratic; in the 13th century the patricians seem to have been united into a gild (Commans-gulde) from whose members the magistrates were chosen. By the 14th century, however, the democratic craft gilds, notably that of the weavers, had asserted themselves; the citizens were divided for civic and military purposes into three classes; the rich (i.e. those living on capital), the weavers and the members of the 52 other gilds. In the civic executive, as it existed to the time of Charles V., the deans of the two lower classes sat with the scabini and councillors.

The constitution and liberties of the city, which survived its incorporation in Burgundy, were lost for a time as a result of the unsuccessful rising against Duke Philip the Good (1450). The citizens, however, retained their turbulent spirit. After the death of Mary of Burgundy, who had resided in the city, they forced her husband, the archduke Maximilian, to conclude the treaty of Arras (1482). They were less fortunate in their opposition to Maximilian’s son, the emperor Charles V. In 1539 they refused, on the plea of their privileges, to contribute to a general tax laid on Flanders, and when Charles’s sister Mary, the governess of the Netherlands, seized some merchants as bail for the payment, they retaliated by driving out the nobles and the adherents of Charles’s government. The appearance of Charles himself, however, with an overwhelming force quelled the disturbance; the ringleaders were executed, and all the property and privileges of the city were confiscated. In addition, a fine of 150,000 golden gulden was levied on the city, and used to build the “Spanish Citadel” on the site of what is now the public park.

In the long struggle of the Netherlands against Spain, Ghent took a conspicuous part, and it was here that, on the 8th of November 1576, was signed the instrument, known as the Pacification of Ghent, which established the league against Spanish tyranny. In 1584, however, the city had to surrender on onerous terms to the prince of Parma.

The horrors of war and of religious persecution, and the consequent emigration or expulsion of its inhabitants, had wrecked the prosperity of Ghent, the recovery of which was made impossible by the closing of the Scheldt. The city was captured by the French in 1698, 1708 and 1745. After 1714 it formed part of the Austrian Netherlands, and in 1794 became the capital of the French department of the Scheldt. In 1814 it was incorporated in the kingdom of the United Netherlands, and it was here that Louis XVIII. of France took refuge during the Hundred Days. Here too was signed (December 24, 1814) the treaty of peace between Great Britain and the United States of America. After 1815 Ghent was for a time the centre of Catholic opposition to Dutch rule, as it is now that of the Flemish movement in Belgium. During the 19th century its prosperity rapidly increased. In 1866-1867, however, a serious outbreak of cholera again threatened it with ruin; but improved sanitation, the provision of a supply of pure water and the demolition of a mass of houses unfit for habitation soon effected a radical cure.

See L. A. Warnkönig, Flandrische Staats- und Rechtsgeschichte bis 1305 (3 vols., Tübingen, 1835-1842), and Gueldorf, Hist. de Gand, translated from Warnkönig, with corrections and additions (Brussels, 1846); F. de Potter, Gent van den oudsten tijd tot heden (6 vols., Ghent, 1883-1891); Van Duyse, Gand monumental et pittoresque (Brussels, 1886); de Vlaminck, Les Origines de la ville de Gand (Brussels, 1891); Annales Gandenses, ed. G. Funck-Brentano (Paris, 1895); Vuylsteke, Oorkondenboek der stad Gent (Ghent, 1900, &c.); Karl Hegel, Städte und Gilden (Leipzig, 1891), vol. ii. p. 175, where further authorities are cited. For a comprehensive bibliography, including monographs and published documents, see Ulysse Chevalier, Répertoire des sources hist. Topo-bibliogr., s.v. “Gand.”

1 Bavo, or Allowin (c. 589-c. 653), patron saint of Ghent, was a nobleman converted by St Amandus, the apostle of Flanders. He lived first as an anchorite in the forest of Mendonk, and afterwards in the monastery founded with his assistance by Amandus at Ghent.

GHETTO, formerly the street or quarter of a city in which Jews were compelled to live, enclosed by walls and gates which were locked each night. The term is now used loosely of any locality in a city or country where Jews congregate. The derivation of the word is doubtful. In documents of the 11th century the Jew-quarters in Venice and Salerno are styled “Judaca” or “Judacaria.” At Capua in 1375 there was a place called San Nicolo ad Judaicam, and later elsewhere a quarter San Martino ad Judaicam. Hence it has been suggested Judaicam became Italian Giudeica and thence became corrupted into ghetto. Another theory traces it to “gietto,” the common foundry at Venice near which was the first Jews’ quarters of that city. More probably the word is an abbreviation of Italian borghetto diminutive of borgo a “borough.”

The earliest regular ghettos were established in Italy in the 11th century, though Prague is said to have had one in the previous century. The ghetto at Rome was instituted by Paul IV. in 1556. It lay between the Via del Pianto and Ponte del Quattro Capi, and comprised a few narrow and filthy streets. It lay so low that it was yearly flooded by the Tiber. The Jews had to sue annually for permission to live there, and paid a yearly tax for the privilege. This formality and tax survived till 1850. During three centuries there were constant changes in the oppressive regulations imposed upon the Jews by the popes. In 1814 Pius VII. allowed a few Jews to live outside the ghetto, and in 1847 Pius IX. decided to destroy the gates and walls, but public opinion hindered him from carrying out his plans. In 1870 the Jews petitioned Pius IX. to abolish the ghetto; but it was to Victor Emmanuel that this reform was finally due. The walls remained until 1885.

During the middle ages the Jews were forbidden to leave the ghetto after sunset when the gates were locked, and they were also imprisoned on Sundays and all Christian holy days. Where the ghetto was too small for the carrying on of their trades, a site beyond its wall was granted them as a market, e.g. the Jewish Tandelmarkt at Prague. Within their ghettos the Jews were left much to their own devices, and the more important ghettos, such as that at Prague, formed cities within cities, having their own town halls and civic officials, hospitals, schools and rabbinical courts. Fires were common in ghettos and, owing to the narrowness of the streets, generally very destructive, especially as from fear of plunder the Jews themselves closed their gates on such occasions and refused assistance. On the 14th of June 1711 a fire, the largest ever known in Germany, destroyed within twenty-four hours the ghetto at Frankfort-on-Main. Other notable ghetto fires are that of Bari in 1030 and Nikolsburg in 1719. The Jews were frequently expelled from their ghettos, the most notable expulsions being those of Vienna (1670) and Prague (1744-1745). This latter exile was during the war of the Austrian Succession, when Maria Theresa, on the ground that “they were fallen into disgrace,” ordered Jews to leave Bohemia. The empress was, however, induced by the protests of the powers, especially of England and Holland, to revoke the decree. Meantime the Jews, ignorant of the revocation, petitioned to be allowed to return in payment of a yearly tax. This tax the Bohemian Jews paid until 1846. The most important ghettos were those at Venice, Frankfort, Prague and Trieste. By the middle of the 19th century the ghetto system was moribund, and with the disappearance of the ghetto at Rome in 1870 it became obsolete.

See D. Philipson, Old European Jewries (Philadelphia, 1894); Israel Abrahams, Jewish Life in the Middle Ages (1896); S. Kahn, article “Ghetto” in Jewish Encyclopedia, v. 652.

GHIBERTI, LORENZO (1378-1455), Italian sculptor, was born at Florence in 1378. He learned the trade of a goldsmith under his father Ugoccione, commonly called Cione, and his stepfather Bartoluccio; but the goldsmith’s art at that time included all varieties of plastic arts, and required from those who devoted themselves to its higher branches a general and profound knowledge of design and colouring. In the early stage of his artistic career Ghiberti was best known as a painter in fresco, and when Florence was visited by the plague he repaired to Rimini, where he executed a highly prized fresco in the palace of the sovereign Pandolfo Malatesta. He was recalled from Rimini to his native city by the urgent entreaties of his stepfather Bartoluccio, who informed him that a competition was to be opened for designs of a second bronze gate in the baptistery, and that he would do wisely to return to Florence and take part in this great artistic contest. The subject for the artists was the sacrifice of Isaac; and the competitors were required to observe in their work a certain conformity to the first bronze gate of the baptistery, executed by Andrea Pisano about 100 years previously. Of the six designs presented by different Italian artists, those of Donatello, Brunelleschi and Ghiberti were pronounced the best, and of the three Brunelleschi’s and Ghiberti’s superior to the third, and of such equal merit that the thirty-four judges with whom the decision was left entrusted the execution of the work to the joint labour of the two friends. Brunelleschi, however, withdrew from the contest. The first of his two bronze gates for the baptistery occupied Ghiberti twenty years.

Ghiberti brought to his task a deep religious feeling and the striving after a high poetical ideal which are not to be found in the works of Donatello, though in power of characterization the second sculptor often stands above the first. Like Donatello, he seized every opportunity of studying the remains of ancient art; but he sought and found purer models for imitation than Donatello, through his excavations and studies in Rome, had been able to secure. The council of Florence, which met during the most active period of Ghiberti’s artistic career, not only secured him the patronage of the pontiff, who took part in the council, but enabled him, through the important connexions which he then formed with the Greek prelates and magnates assembled in Florence, to obtain from many quarters of the Byzantine empire the precious memorials of old Greek art, which he studied with untiring zeal. The unbounded admiration called forth by Ghiberti’s first bronze gate led to his receiving from the chiefs of the Florentine gilds the order for the second, of which the subjects were likewise taken from the Old Testament. The Florentines gazed with especial pride on these magnificent creations, which must still have shone with all the brightness of their original gilding when, a century later, Michelangelo pronounced them worthy to be the gates of paradise. Next to the gates of the baptistery Ghiberti’s chief works still in existence are his three statues of St John the Baptist, St Matthew and St Stephen, executed for the church of Or San Michele. In the bas-relief of the coffin of St Zenobius, in the Florence cathedral, Ghiberti put forth much of his peculiar talent, and though he did not, as is commonly stated, execute entirely the painted glass windows in that edifice, he furnished several of the designs, and did the same service for a painted glass window in the church of Or San Michele. He died at the age of 77.

We are better acquainted with Ghiberti’s theories of art than with those of most of his contemporaries, for he left behind him a commentary, in which, besides his notices of art, he gives much insight into his own personal character and views. Every page attests the religious spirit in which he lived and worked. Not only does he aim at faithfully reflecting Christian truths in his creations, he regards the old Greek statues with a kindred feeling, as setting forth the highest intellectual and moral attributes of human nature. He appears to have cared as little as Donatello for money.

Benvenuto Cellini’s criticism on Ghiberti that in his creations of plastic art he was more successful in small than in large figures, and that he always exhibited in his works the peculiar excellences of the goldsmith’s quite as much as those of the sculptor’s art, is after all no valid censure, for it merely affirms that Ghiberti faithfully complied with the peculiar conditions of the task imposed upon him. More frequent have been the discussions as to the part played by perspective in his representations of natural scenery. These acquired a fresh importance since the discovery of the data, from which it appeared that Paolo Uccello, who had commonly been regarded as the first great master of perspective, worked for several years in the studio or workshop of Ghiberti, so that it became difficult to determine to what extent Uccello’s successful innovations in perspective were due to Ghiberti’s teaching.

Cicognara’s criticism on Ghiberti, in his History of Sculpture, has supplied the chief materials for the illustrative text of Lasinio’s series of engravings of the three bronze gates of the baptistery. They consist of 42 plates in folio, and were published at Florence by Bardi in 1821. Still more vivid representations are the reproductions on a very large scale by the photographic establishment of Alinari. Both C. C. Perkins, in his History of Tuscan Sculpture (1864), and A. F. Rio, in his Art chrétien (1861-1867), have treated Ghiberti’s works with much fulness, and in a spirit of sound appreciation. See also the chapter expressly devoted to the history of the competition for the baptistery gates in Hans Semper, Donatello (1887); the articles by Adolf Rosemberg in Dohme’s Kunst und Künstler des Mittelalters (Leipzig, 1877); Leader Scott, Ghiberti and Donatello (1882). In the Sammlung ausgewählter Biographien Vasari, ed. Carl Frey, vol. iii. (1886), is given Ghiberti’s commentary on art.

GHICA, Ghika or Ghyka, a family which played a great part in the modern development of Rumania, many of its members being princes of Moldavia and Walachia. According to Rumanian historians the Ghicas were of very humble origin, and came from Kiupru in Albania.

1. George or Gheorghe (c. 1600-1664), the founder of the family, is said to have been a playmate of another Albanian known in history as Küpruli Aga, the famous vizier, who recognized George while he was selling melons in the streets of Constantinople, and helped him on to high positions. George became prince of Moldavia in 1658 and prince of Walachia in 1659-1660. He moved the capital from Tîrgovishtea to Bucharest. From him are derived the numerous branches of the family which became so conspicuous in the history of Moldavia and Walachia.

2. The Walachian branch starts afresh from the great ban Demetrius or Dumitru Ghica (1718-1803), who was twice married and had fourteen children (see Rumania: History). One of these, Gregory (Grigorie), prince of Walachia 1822-1828, starts a new era of civilization, by breaking with the traditions of the Phanariot (Greek) period and assisting in the development of a truly national Rumanian literature. His brother, Prince Alexander Ghica, appointed jointly by Turkey and Russia (1834-1842) as hospodar of Walachia, died in 1862. Under him the so-called règlement organique had been promulgated; an attempt was made to codify the laws in conformity with the institutions of the country and to secure better administration of justice. Prince Demetrius Ghica, who died as president of the Rumanian senate in 1897, was the son of the Walachian prince Gregory.

3. Another Gregory Ghica, prince of Moldavia from 1775 to 1777, paid with his life for the opposition he offered when the Turks ceded the province of Bukovina to Austria.

4. Michael (Michail) (1794-1850) was the father of Elena (1827-1888), a well-known novelist, who wrote under the name of Dora d’Istria. Brought up, as was customary at the time, under Greek influences, she showed premature intelligence and literary power. She continued her education in Germany and married a Russian prince, Koltsov Mazalskiy, in 1849, but the marriage was an unhappy one, and in 1855 she left St Petersburg for Florence, where she died in 1888. In that city she developed her literary talent and published a number of works characterized by lightness of touch and brilliance of description, such as Pèlerinage au tombeau de Dante, La Vie monastique dans les églises orientales (1844), La Suisse allemande, &c. One of her last works was devoted to the history of her own family, Gli Albanesi in Roumenia: Storia dei Principi Ghika nei secoli XVII-XIX (Florence, 1873). Her sister was Sophia, Countess O’Rourke.

5. Scarlat Ghica (1750-1802) was twice prince of Walachia. His grandson John (Ioan) Ghica (1817-1897), a lifelong friend of Turkey, was educated in Bucharest and in the West, and studied engineering and mathematics in Paris from 1837 to 1840; returning to Moldavia he was involved in the conspiracy of 1841, which was intended to bring about the union of Walachia and Moldavia under one native prince (Michael Sturdza). The conspiracy failed and John Ghica became a lecturer on mathematics at the university which was founded by Prince Sturdza in Jassy. In 1848 he joined the party of revolution and in the name of a provisional government then established in Bucharest went to Constantinople to approach the Turkish government. Whilst there he was appointed Bey of Samos (1853-1859), where he extirpated piracy, rampant in that island. In 1859 after the union of Moldavia and Walachia had been effected Prince Cuza induced John Ghica to return. He was the first prime minister under Prince (afterwards King) Charles of Hohenzollern. His restless nature made him join the anti-dynastic movement of 1870-1871. In 1881 he was appointed Rumanian minister in London and retained this office until 1889. He died on the 7th of May 1897 in Gherghani. Besides his political distinction John Ghica earned a literary reputation by his “Letters to Alexandri” (2nd edition, 1887), his lifelong friend, written from London and describing the ancient state of Rumanian society, fast fading away. He was also the author of Amintiri din pribegie, “Recollections of Exile in 1848” (Bucharest, 1890) and of Convorbiri Economice, discussions on economic questions (Bucharest, 1866-1873). He was the first to advocate the establishment of national industry and commerce, and also, to a certain extent, principles of “exclusive dealing.”

(M. G.)

GHILZAI, a large and widespread Afghan tribe, who extend from Kalat-i-Ghilzai on the S. to the Kabul river on the N., and from the Gul Koh range on the W. to the Indian border on the E., in many places overflowing these boundaries. The popular theory of the origin of the Ghilzais traces them to the Turkish tribe of Kilji, once occupying districts bordering the upper course of the Syr Darya (Jaxartes), and affirms that they were brought into Afghanistan by the Turk Sabuktagin in the 10th century. However that may be, the Ghilzai clans now rank collectively as second to none in strength of military and commercial enterprise. They are a fine, manly race of people, and it is from some of their most influential clans (Suliman Khel, Nasir Khel, Kharotis, &c.) that the main body of povindah merchants is derived.

GHIRLANDAJO, DOMENICO (1449-1494), Florentine painter. His full name is given as Domenico di Tommaso Curradi di Doffo Bigordi; it appears therefore that his father’s surname was Curradi, and his grandfather’s Bigordi. The painter is generally termed Domenico Bigordi, but some authors give him, and apparently with reason, the paternal surname Curradi. Ghirlandajo (garland-maker) was only a nickname, coming to Domenico from the employment of his father (or else of his earliest instructor), who was renowned for fashioning the metallic garlands worn by Florentine damsels; he was not, however, as some have said, the inventor of them. Tommaso was by vocation a jeweller on the Ponte Vecchio, or perhaps a broker. Domenico, the eldest of eight children, was at first apprenticed to a jeweller or goldsmith, probably enough his own father; in his shop he was continually making portraits of the passers-by, and it was thought expedient to place him with Alessio Baldovinetti to study painting and mosaic. His youthful years were, however, entirely undistinguished, and at the age of thirty-one he had not a fixed abode of his own. This is remarkable, as immediately afterwards, from 1480 onwards to his death at a comparatively early age in 1494, he became the most proficient painter of his time, incessantly employed, and condensing into that brief period of fourteen years fully as large an amount of excellent work as any other artist that could be named; indeed, we should properly say eleven years, for nothing of his is known of a later date than 1491.

In 1480 Ghirlandajo painted a “St Jerome” and other frescoes in the church of Ognissanti, Florence, and a life-sized “Last Supper” in its refectory, noticeable for individual action and expression. From 1481 to 1485 he was employed upon frescoes in the Sala dell’ Orologio in the Palazzo Vecchio; he painted the apotheosis of St Zenobius, a work beyond the size of life, with much architectural framework, figures of Roman heroes and other detail, striking in perspective and structural propriety. While still occupied here, he was summoned to Rome by Pope Sixtus IV. to paint in the Sixtine chapel; he went thither in 1483. In the Sixtine he executed, probably before 1484, a fresco which has few rivals in that series, “Christ calling Peter and Andrew to their Apostleship,”—a work which, though somewhat deficient in colour, has greatness of method and much excellence of finish. The landscape background, in especial, is very superior to anything to be found in the works, which had no doubt been zealously studied by Ghirlandajo, of Masaccio and others in the Brancacci chapel. He also did some other works in Rome, now perished. Before 1485 he had likewise produced his frescoes in the chapel of S. Fina, in the Tuscan town of S. Gimignano, remarkable for grandeur and grace,—two pictures of Fina, dying and dead, with some accessory work. Sebastian Mainardi assisted him in these productions in Rome and in S. Gimignano; and Ghirlandajo was so well pleased with his co-operation that he gave him his sister in marriage.

He now returned to Florence, and undertook in the church of the Trinita, and afterwards in S. Maria Novella, the works which have set the seal on his celebrity. The frescoes in the Sassetti chapel of S. Trinita are six subjects from the life of St Francis, along with some classical accessories, dated 1485. Three of the principal incidents are “St Francis obtaining from Pope Honorius the approval of the Rules of his Order”; his “Death and Obsequies,” and the Resuscitation, by the interposition of the beatified saint, of a child of the Spini family, who had been killed by falling out of a window. In the first work is a portrait of Lorenzo de’ Medici; and in the third the painter’s own likeness, which he introduced also into one of the pictures in S. Maria Novella, and in the “Adoration of the Magi” in the hospital of the Innocenti. The altar-piece of the Sassetti chapel, the “Adoration of the Shepherds,” is now in the Florentine Academy. Immediately after disposing of this commission, Ghirlandajo was asked to renew the frescoes in the choir of S. Maria Novella. This choir formed the chapel of the Ricci family, but the Tornabuoni and Tornaquinci families, then much more opulent than the Ricci, undertook the cost of the restoration, under conditions, as to preserving the arms of the Ricci, which gave rise in the end to some amusing incidents of litigation. The frescoes, in the execution of which Domenico had many assistants, are in four courses along the three walls,—the leading subjects being the lives of the Madonna and of the Baptist. Besides their general richness and dignity of art, these works are particularly interesting as containing many historical portraits—a method of treatment in which Ghirlandajo was pre-eminently skilled.

There are no less than twenty-one portraits of the Tornabuoni and Tornaquinci families; in the subject of the “Angel appearing to Zacharias,” those of Politian, Marsilio Ficino and others; in the “Salutation of Anna and Elizabeth,” the beautiful Ginevra de’ Benci; in the “Expulsion of Joachim from the Temple,” Mainardi and Baldovinetti (or the latter figure may perhaps be Ghirlandajo’s father). The Ricci chapel was reopened and completed in 1490; the altar-piece, now removed from the chapel, was probably executed with the assistance of Domenico’s brothers, David and Benedetto, painters of ordinary calibre; the painted window was from Domenico’s own design. Other distinguished works from his hand are an altar-piece in tempera of the “Virgin adored by Sts Zenobius, Justus and others,” painted for the church of St Justus, but now in the Uffizi gallery, a remarkable masterpiece; “Christ in glory with Romuald and other Saints,” in the Badia of Volterra; the “Adoration of the Magi,” in the church of the Innocenti (already mentioned), perhaps his finest panel-picture (1488); and the “Visitation,” in the Louvre, bearing the latest ascertained date (1491) of all his works. Ghirlandajo did not often attempt the nude; one of his pictures of this character, “Vulcan and his Assistants forging Thunderbolts,” was painted for Lo Spedaletto, but (like several others specified by Vasari) it exists no longer. Two portraits by him are in the National Gallery, London. The mosaics which he produced date before 1491; one, of especial celebrity, is the “Annunciation,” on a portal of the cathedral of Florence.

In general artistic attainment Ghirlandajo may fairly be regarded as exceeding all his precursors or competitors; though the names of a few, particularly Giotto, Masaccio, Lippo Lippi and Botticelli, stand higher for originating power. His scheme of composition is grand and decorous; his chiaroscuro excellent, and especially his perspectives, which he would design on a very elaborate scale by the eye alone; his colour is more open to criticism, but this remark applies much less to the frescoes than the tempera-pictures, which are sometimes too broadly and crudely bright. He worked in these two methods alone—never in oils; and his frescoes are what the Italians term “buon fresco,” without any finishing in tempera. A certain hardness of outline, not unlike the character of bronze sculpture, may attest his early training in metal work. He first introduced into Florentine art that mixture of the sacred and the profane which had already been practised in Siena. His types in figures of Christ, the Virgin and angels are not of the highest order; and a defect of drawing, which has been often pointed out, is the meagreness of his hands and feet. It was one of his maxims that “painting is designing.” Ghirlandajo was an insatiate worker, and expressed a wish that he had the entire circuit of the walls of Florence to paint upon. He told his shop-assistants not to refuse any commission that might offer, were it even for a lady’s petticoat-panniers: if they would not execute such work, he would. Not that he was in any way grasping or sordid in money-matters, as is proved by the anecdote of the readiness with which he gave up a bonus upon the stipulated price of the Ricci chapel frescoes, offered by the wealthy Tornabuoni in the first instance, but afterwards begrudged. Vasari says that Ghirlandajo was the first to abandon in great part the use of gilding in his pictures, representing by genuine painting any objects supposed to be gilded; yet this does not hold good without some considerable exceptions—the high lights of the landscape, for instance, in the “Adoration of the Shepherds,” now in the Florence Academy, being put in in gold. Many drawings and sketches by this painter are in the Uffizi gallery, remarkable for vigour of outline. One of the great glories of Ghirlandajo is that he gave some early art-education to Michelangelo, who cannot, however, have remained with him long. F. Granacci was another of his pupils.

This renowned artist died of pestilential fever on the 11th of January 1494, and was buried in S. Maria Novella. He had been twice married, and left six children, three of them being sons. He had a long and honourable line of descendants, which came to a close in the 17th century, when the last members of the race entered monasteries. It is probable that Domenico died poor; he appears to have been gentle, honourable and conscientious, as well as energetically diligent.

The biography of Ghirlandajo is carefully worked out in Crowe and Cavalcaselle’s book. A recent German work on the subject is that of Ernst Steinmann (1897). See also Codex Escurialensis, ein Skizzenbuch aus der Werkstatt Domenico Ghirlandaios (texts and plates), by Chr. Hülsen, Adolf Michaelis and Hermann Egger in the Sonderschriften des österr. archäol. Instituts in Wien (2 vols., 1906), and cf. T. Ashby in Classical Quarterly (April 1909).

(W. M. R.)

GHIRLANDAJO, RIDOLFO (1483-1560), son of Domenico Ghirlandajo, Florentine painter, was born on the 14th of February 1483, and, being less than eleven years old when his father died, was brought up by his uncle David. To this second-rate artist he owed less in the way of professional training than to Granacci, Piero di Cosimo and perhaps Cosimo Rosselli. It has been said that Ridolfo studied also under Fra Bartolommeo, but this is not clearly ascertained. He was certainly one of the earliest students of the famous cartoons of Leonardo da Vinci and Michelangelo. His works between the dates 1504 and 1508 show a marked influence from Fra Bartolommeo and Raphael, with the latter of whom he was on terms of familiar friendship; hence he progressed in selection of form and in the modelling and relief of his figures. Raphael, on reaching Rome in 1508, wished Ridolfo to join him; but the Florentine painter was of a particularly home-keeping humour, and he neglected the opportunity. He soon rose to the head of the Florentine oil-painters of his time; and, like his father, accepted all sorts of commissions, of whatever kind. He was prominent in the execution of vast scenic canvases for various public occasions, such as the wedding of Giuliano de’ Medici, and the entry of Leo X. into Florence in 1515. In his prime he was honest and conscientious as an artist; but from about 1527 he declined, having already accumulated a handsome property, more than sufficient for maintaining in affluence his large family of fifteen children, and his works became comparatively mannered and self-repeating. His sons traded in France and in Ferrara; he himself took a part in commercial affairs, and began paying some attention to mosaic work, but it seems that, after completing one mosaic, the “Annunciation” over the door of the Annunziata, patience failed him for continuing such minute labours. In his old age Ridolfo was greatly disabled by gout. He appears to have been of a kindly, easy-going character, much regarded by his friends and patrons.

The following are some of his leading works, the great majority of them being oil-pictures:—

“Christ and the Maries on the road to Calvary,” now in the Palazzo Antinori, Florence, an early example, with figures of half life-size. An “Annunciation” in the Abbey of Montoliveto near Florence, Leonardesque in style. In 1504, the “Coronation of the Virgin,” now in the Louvre. A “Nativity,” very carefully executed, now in the Hermitage, St Petersburg, and ascribed in the catalogue to Granacci. A “Predella,” in the oratory of the Bigallo, Florence, five panels, representing the Nativity and other subjects, charmingly finished. In 1514, on the ceiling of the chapel of St Bernard in the Palazzo Pubblico, Florence, a fresco of the “Trinity,” with heads of the twelve apostles and other accessories, and the “Annunciation”; also the “Assumption of the Virgin, who bestows her girdle on St Thomas,” in the choir loft of Prato cathedral. Towards the same date, a picture showing his highest skill, replete with expression, vigorous life, and firm accomplished pictorial method, now in the gallery of the Uffizi, “St Zenobius resuscitating a child”; also the translation of the remains of the same Saint. The “Virgin and various saints,” at S. Pier Maggiore, Pistoja. In 1521, the “Pietà,” at S. Agostino, Colle di Valdelsa, life-sized. Towards 1526, the “Assumption,” now in the Berlin Museum, containing the painter’s own portrait. An excellent portrait of “Cosimo de’ Medici” (the Great) in youth. In 1543, a series of frescoes in the monastery of the Angeli. In the National Gallery, London, is “The Procession to Calvary.” A great number of altar-pieces were executed by Ghirlandajo, with the assistance of his favourite pupil, currently named Michele di Ridolfo. Another of his pupils was Mariano da Pescia.

(W. M. R.)

GHOR, or Ghur, an ancient kingdom of Afghanistan. The name of Ghor was in the middle ages, and indeed locally still is, applied to the highlands east of Herat, extending eastward to the upper Helmund valley, or nearly so. Ghor is the southern portion of that great peninsula of strong mountain country which forms the western part of modern Afghanistan. The northern portion of the peninsula was in the middle ages comprehended under the names of Gharjistān (on the west), and Juzjānā (on the east), whilst the basin of the Herat river, and all south of it, constituted Ghor. The name as now used does not include the valley of the Herat river; on the south the limit seems to be the declivity of the higher mountains dominating the descent to the lower Helmund, and the road from Farah to Kandahar. It is in Ghor that rise all those affluents of the closed basin of Seistan, the Hari-rud, the Farah-rud, the Khash-rud, besides other considerable streams joining the Helmund above Girishk.

Ghor is mentioned in the Shahnama of Firdousi (A.D. 1010), and in the Arab geographers of that time, though these latter fail in details almost as much as we moderns, thus indicating how little accessible the country has been through all ages. Ibn Hauḳal’s map of Khorasan (c. 976) shows Jibāl-al-Ghūr, “the hill-country of Ghor,” as a circle ring-fenced with mountains. His brief description speaks of it as a land fruitful in crops, cattle and flocks, inhabited by infidels, except a few who passed for Mahommedans, and indicates that, like other pagan countries surrounded by Moslem populations, it was regarded as a store of slaves for the faithful. The boundary of Ghor in ascending the valley of the Hari-rud was six and a half easy marches from Herat, at Chist, two marches above Obeh.

The chief part of the present population of Ghor are Taimanis, belonging to the class of nomad or semi-nomad clans called Aimāk, intermingled with Zuris and Tajiks.

The people and princes of Ghor first become known to us in connexion with the Ghaznevid dynasty, and the early medieval histories of Ghor and Ghazni are so intertwined that little need be added on that subject to what will be found under Ghazni (q.v.). What we read of Ghor shows it as a country of lofty mountains and fruitful valleys, and of numerous strongholds held by a variety of hill-chieftains ruling warlike clans whose habits were rife with feuds and turbulence,—indeed, in character strongly resembling the tribes of modern Afghanistan, though there seems no good reason to believe that they were of Afghan race. It is probable that they were of old Persian blood, like the older of those tribes which still occupy the country. It is possibly a corroboration of this that, in the 14th century, when one of the Ghori kings, of the Kurt dynasty reigning in Herat, had taken to himself some of the insignia of independent sovereignty, an incensed Mongol prince is said to have reviled him as “an insolent Tajik.” Sabuktagin of Ghazni, and his famous son Mahmud, repeatedly invaded the mountain country which so nearly adjoined their capital, subduing its chiefs for the moment, and exacting tribute; but when the immediate pressure was withdrawn, the yoke was thrown off and the tribute withheld. In 1020 Masa‘ud, the son of Mahmud, being then governor of Khorasan, made a systematic invasion of Ghor from the side of Herat, laying siege to its strongholds one after the other, and subduing the country more effectually than ever before. About a century later one of the princely families of Ghor, deriving the appellation of Shansabi, or Shansabaniah, from a certain ancestor Shansab, of local fame, and of alleged descent from Zohak, acquired predominance in all the country, and at the time mentioned Malik ‘Izzuddin al Hosain of this family came to be recognized as lord of Ghor. He was known afterwards as “the Father of Kings,” from the further honour to which several of his seven sons rose. Three of these were—(1) Amir Kutbuddin Mahommed, called the lord of the Jibal or mountains; (2) Sultan Saifuddin Suri, for a brief period master of Ghazni,—both of whom were put to death by Bahram the Ghaznevid; and (3) Sultan Alauddin Jahansoz, who wreaked such terrible vengeance upon Ghazni. Alauddin began the conquests which were afterwards immensely extended both in India and in the west by his nephews Ghiyasuddin Mahommed b. Sam and Mahommed Ghori (Muizuddin b. Sam or Shahabuddin b. Sam), and for a brief period during their rule it was boasted, with no great exaggeration, that the public prayer was read in the name of the Ghori from the extremity of India to the borders of Babylonia, and from the Oxus to the Straits of Ormus. After the death of Mahommed Ghori, Mahmud the son of Ghiyasuddin was proclaimed sovereign (1200) throughout the territories of Ghor, Ghazni and Hindustan. But the Indian dominion, from his uncle’s death, became entirely independent, and his actual authority was confined to Ghor, Seistan and Herat. The whole kingdom fell to pieces before the power of Mahommed Shah of Khwarizm and his son Jelaluddin (c. 1214-1215), a power in its turn to be speedily shattered by the Mongol flood.

Besides the thrones of Ghor and Ghazni, the Shansabaniah family, in the person of Fakhruddin, the eldest of the seven sons of Malik ‘Izzuddin, founded a kingdom in the Oxus basin, having its seat at Bamian (q.v.), which endured for two or three generations, till extinguished by the power of Khwarizm (1214). And the great Mussulman empire of Delhi was based on the conquests of Muizuddin the Ghorian, carried out and consolidated by his Turki freedmen, Kutbuddin Aibak and his successors. The princes of Ghor experienced, about the middle of the 13th century, a revival of power, which endured for 140 years. This later dynasty bore the name of Kurt or Kărt. The first of historical prominence was Malik Shamsuddin Kurt, descended by his mother from the great king Ghiyasuddin Ghori, whilst his other grandfather was that prince’s favourite minister. In 1245 Shamsuddin held the lordship of Ghor in some kind of alliance with, or subordination to, the Mongols, who had not yet definitively established themselves in Persia; and in 1248 he received from the Great Khan Mangu an investiture of all the provinces from Merv to the Indus, including by name Sijistan (or Seistan), Kabul, Tirah (adjoining the Khyber pass), and Afghanistan (a very early occurrence of this name), which he ruled from Herat. He stood well with Hulagu, and for a long time with his son Abaka, but at last incurred the latter’s jealousy, and was poisoned when on a visit to the court at Tabriz (1276). His son Ruknuddin Kurt was, however, invested with the government of Khorasan (1278), but after some years, mistrusting his Tatar suzerains, he withdrew into Ghor, and abode in his strong fortress of Kaissar till his death there in 1305. The family held on through a succession of eight kings in all, sometimes submissive to the Mongol, sometimes aiming at independence, sometimes for a series of prosperous years adding to the strength and splendour of Herat, and sometimes sorely buffeted by the hosts of masterless Tatar brigands that tore Khorasan and Persia in the decline of the dynasties of Hulagu and Jagatai. It is possible that the Kurts might have established a lasting Tajik kingdom at Herat, but in the time of the last of the dynasty, Ghiyasuddin Pir-’Ali, Tatardom, reorganized and re-embodied in the person of Timur, came against Herat, and carried away the king and the treasures of his dynasty (1380). A revolt and massacre of his garrison provoked Timur’s vengeance; he put the captive king to death, came against the city a second time, and showed it no mercy (1383). Ghor has since been obscure in history.

The capital of the kingdom of Ghor, when its princes were rising to dominion in the 12th century, was Firoz Koh, where a city and fortress were founded by Saifuddin Suri. The exact position of Firoz Koh is difficult to determine, unless it be represented by the ruins of one or other of the ancient cities in the upper Murghab valley, the habitat of the Firoz Kohi section of the Chahar Aimāk, which were visited by the surveyors of the Russo-Afghan boundary delimitation of 1884-1885. Extensive ruins were also found at Taiwara on one of the main affluents of the Farah Rud, where walls and terraces still existing supported the local tradition that this place was the ancient capital of Ghor. The valleys of the Taimani tribes though narrow are fertile and well cultivated, and there are many walled villages and forts about Parjuman and Zarni in the south-eastern districts. The peak of “Chalap Dalan” (described by Ferrier as “one of the highest in the world”) is the Koh-i-Kaisar, which is a trifle over 13,000 ft. in height. All the country now known as Ghor was mapped during the progress of the Russo-Afghan boundary delimitation.

See the “Tabakát-i-Násiri,” in the Bibl. Indica, transl. by Raverty; Journal asiatique, ser. v. tom. xvii.; “Ibn Haukal,” in J. As. Soc. Beng. vol. xxii.; Ferrier’s Caravan Journeys; Hammer’s Ilkhans, &c.

GHOST (a word common to the W. Teutonic languages; O.E. gæst, Dutch, geest, Ger. Geist), in the sense now prevailing, the spirit of a dead person considered as appearing in some visible or sensible form to the living (see Apparitions; Psychical Research, “Phantasms of the Dead”; Spiritualism). In the earlier and wider sense of spirit in general, or of the principle of life, the word is practically obsolete. The language of the Authorized Version of the Bible, however, has preserved the phrase “to give up the ghost,” still sometimes used of dying. The Spirit of God, too, the third person of the Trinity, is still called, not in the technical language of theology only, the Holy Ghost. The adjective “ghostly” is still occasionally used for “spiritual” (cf. the Ger. geistlich) as contrasted with “bodily,” especially in such combinations as “ghostly counsel,” “ghostly comfort.” We may even speak of a “ghostly adviser,” though not without a touch of affectation; on the other hand, the phrase “ghostly man” for a clergyman (cf. the Ger. Geistlicher) is an archaism the use of which could only be justified by poetic licence, as in Tennyson’s Elaine (1842). The word “ghost,” from the shadowy and unsubstantial quality attributed to the apparitions of the dead, has come also to be commonly used to emphasize the want of force or substance generally, in such phrases as “not the ghost of a chance,” “not the ghost of an idea.” It is also applied to those literary and artistic “hacks” who are paid to do work for which others get the credit.

GHOST DANCE, an American-Indian ritual dance, sometimes called the Spirit Dance, the dancers wearing a white cloak. It is connected with the doctrine of a Messiah, which arose in Nevada among the Paiute Indians in 1888 and spread to other tribes. A young Paiute Indian medicine-man, known as Wovoka, and called Jack Wilson by the whites, proclaimed that he had had a revelation, and that, if this ghost dance and other ceremonies were duly performed, the Indians would be rid of the white men. The movement led to a sort of craze among the Indian tribes, and in 1890 it was one of the causes of the Sioux outbreak.

See J. Mooney, 14th Report (1896) of Bureau of American Ethnology.

GIACOMETTI, PAOLO (1816-1882), Italian dramatist, born at Novi Ligure, was educated in law at Genoa, but at the age of twenty had some success with his play Rosilda and then devoted himself to the stage. Depressed circumstances made him attach himself as author to various touring Italian companies, and his output was considerable; moreover, such actors as Ristori, Rossi and Salvini made many of these plays great successes. Among the best of them were La Donna (1850), La Donna in seconde nozze (1851), Giuditta (1857), Sofocle (1860), La Morte civile (1880). A collection of his works was published at Milan in eight volumes (1859 et seq.).

GIAMBELLI (or Gianibelli), FEDERIGO, Italian military engineer, was born at Mantua about the middle of the 16th century. Having had some experience as a military engineer in Italy, he went to Spain to offer his services to Philip II. His proposals were, however, lukewarmly received, and as he could obtain from the king no immediate employment, he took up his residence at Antwerp, where he soon gained considerable reputation for his knowledge in various departments of science. He is said to have vowed to be revenged for his rebuff at the Spanish court; and when Antwerp was besieged by the duke of Parma in 1584, he put himself in communication with Queen Elizabeth, who, having satisfied herself of his abilities, engaged him to aid by his counsels in its defence. His plans for provisioning the town were rejected by the senate, but they agreed to a modification of his scheme for destroying the famous bridge which closed the entrance to the town from the side of the sea, by the conversion of two ships of 60 and 70 tons into infernal machines. One of these exploded, and, besides destroying more than 1000 soldiers, effected a breach in the structure of more than 200 ft. in width, by which, but for the hesitation of Admiral Jacobzoon, the town might at once have been relieved. After the surrender of Antwerp Giambelli went to England, where he was engaged for some time in fortifying the river Thames; and when the Spanish Armada was attacked by fireships in the Calais roads, the panic which ensued was very largely due to the conviction among the Spaniards that the fireships were infernal machines constructed by Giambelli. He is said to have died in London, but the year of his death is unknown.

See Motley’s History of the United Netherlands, vols. i. and ii.

GIANNONE, PIETRO (1676-1748), was born at Ischitella, in the province of Capitanata, on the 7th of May 1676. Arriving in Naples at the age of eighteen, he devoted himself to the study of law, but his legal pursuits were much surpassed in importance by his literary labours. He devoted twenty years to the composition of his great work, the Storia civile del regno di Napoli, which was ultimately published in 1723. Here in his account of the rise and progress of the Neapolitan laws and government, he warmly espoused the side of the civil power in its conflicts with the Roman Catholic hierarchy. His merit lies in the fact that he was the first to deal systematically with the question of Church and State, and the position thus taken up by him, and the manner in which that position was assumed, gave rise to a lifelong conflict between Giannone and the Church; and in spite of his retractation in prison at Turin, he deserves the palm—as he certainly endured the sufferings—of a confessor and martyr in the cause of what he deemed historical truth. Hooted by the mob of Naples, and excommunicated by the archbishop’s court, he was forced to leave Naples and repair to Vienna. Meanwhile the Inquisition had attested after its own fashion the value of his history by putting it on the Index. At Vienna the favour of the emperor Charles VI. and of many leading personages at the Austrian court obtained for him a pension and other facilities for the prosecution of his historical studies. Of these the most important result was Il Triregno, ossia del regno del cielo, della terra, e del papa. On the transfer of the Neapolitan crown to Charles of Bourbon, Giannone lost his Austrian pension and was compelled to remove to Venice. There he was at first most favourably received. The post of consulting lawyer to the republic, in which he might have continued the special work of Fra Paolo Sarpi, was offered to him, as well as that of professor of public law in Padua; but he declined both offers. Unhappily there arose a suspicion that his views on maritime law were not favourable to the pretensions of Venice, and this suspicion, notwithstanding all his efforts to dissipate it, together with clerical intrigues, led to his expulsion from the state. On the 23rd of September 1735 he was seized and conveyed to Ferrara. After wandering under an assumed name for three months through Modena, Milan and Turin, he at last reached Geneva, where he enjoyed the friendship of the most distinguished citizens, and was on excellent terms with the great publishing firms. But in an evil hour he was induced to visit a Catholic village within Sardinian territory in order to hear mass on Easter day, where he was kidnapped by the agents of the Sardinian government, conveyed to the castle of Miolans and thence successively transferred to Ceva and Turin. In the fortress of Turin he remained immured during the last twelve years of his life, although part of his time was spent in composing a defence of the Sardinian interests as opposed to those of the papal court, and he was led to sign a retractation of the statements in his history most obnoxious to the Vatican (1738). But after his recantation his detention was made less severe and he was allowed many alleviations. He died on the 7th of March 1748, in his seventy-second year.

Giannone’s style as an Italian writer has been pronounced to be below a severe classical model; he is often inaccurate as to the facts, for he did not always work from original authorities (see A. Manzoni, Storia della colonna infame), and he was sometimes guilty of unblushing plagiarism. But his very ease and freedom have helped to make his volumes more popular than many works of greater classical renown. In England the just appreciation of his labours by Gibbon, and the ample use made of them in the later volumes of The Decline and Fall, early secured him his rightful place in the estimation of English scholars.

The story of his life has been recorded in the Vita by L. Panzini, which is based on Giannone’s unpublished Autobiografia and printed in the Milan edition of the historian’s works (1823); whilst a more complete estimate of his literary and political importance may be formed by the perusal of the collected edition of the works written by him in his Turin prison, published in Turin in 1859—under the care of the distinguished statesman Pasquale Stanislao Mancini, universally recognized as one of the first authorities in Italy on questions relating to the history of his native Naples, and especially of the conflicts between the civil power and the Church. See also R. Mariano, “Giannone e Vico,” in the Rivista contemporanea (1869); G. Ferrari, La Mente di Pietro Giannone (1868). G. Bonacci’s Saggio sulla Storia civile del Giannone (Florence, 1903) is a bitter attack on Giannone, and although the writer’s remarks on the plagiarisms in the Storia civile are justified, the charge of servility is greatly exaggerated.

GIANNUTRI (Gr. Ἀρτεμίσιον, Lat. Dianium), an island of Italy, about 1 sq. m. in total area, 10 m. S.E. of Giglio and about 10 m. S. of the promontory of Monte Argentario (see Orbetello). The highest point is 305 ft. above sea-level. It contains the ruins of a large Roman villa, near the Cala Maestra on the E. coast of the island. The buildings may be divided into five groups: (1) a large cistern in five compartments, each measuring 39 by 17 ft.; (2) habitations both for the owners and for slaves, and store-rooms; (3) baths; (4) habitations for slaves; (5) belvedere. The brick-stamps found begin in the Flavian and end with the Hadrianic period. The villa may have belonged to the Domitii Ahenobarbi, who certainly under the republic had property in the island of Igilium (Giglio) and near Cosa.

See G. Pellegrini in Notizie degli scavi (1900), 609 seq.

GIANT (O. E. geant, through Fr. géant, O. Fr. gaiant, jaiant, jéant, med. pop. Lat. gagante—cf. Ital. gigante—by assimilation from gigantem, acc. of Lat. gigas, Gr. γίγας). The idea conveyed by the word in classic mythology is that of beings more or less manlike, but monstrous in size and strength. Figures like the Titans and the Giants whose birth from Heaven and Earth is sung by Hesiod in the Theogony, such as can heap up mountains to scale the sky and war beside or against the gods, must be treated, with other like monstrous figures of the wonder-tales of the world, as belonging altogether to the realms of mythology. But there also appear in the legends of giants some with historic significance. The ancient and commonly repeated explanation of the Greek word γίγας, as connected with or derived from γηγενής, or “earth-born,” is etymologically doubtful, but at any rate the idea conveyed by it was familiar to the ancient Greeks, that the giants were earth-born or indigenous races (see Welcker, Griechische Götterlehre, i. 787). The Bible (the English reader must be cautioned that the word giant has been there used ambiguously, from the Septuagint downwards) touches the present matter in so far as it records the traditions of the Israelites of fighting in Palestine with tall races of the land such as the Anakim (Numb. xiii. 33; Deut. ii. 10, iii. 11; 1 Sam. xvii. 4). When reading in Homer of “the Cyclopes and the wild tribes of the Giants,” or of the adventures of Odysseus in the cave of Polyphemus (Homer, Odyss. vii. 206; ix.), we seem to come into view of dim traditions, exaggerated through the mist of ages, of pre-Hellenic barbarians, godless, cannibal, skin-clothed, hurling huge stones in their rude warfare. Giant-legends of this class are common in Europe and Asia, where the big and stupid giants would seem to have been barbaric tribes exaggerated into monsters in the legends of those who dispossessed and slew them. In early times it was usual for cities to have their legends of giants. Thus London had Gog and Magog, whose effigies (14 ft. high) still stand in the Guildhall (see Gog); Antwerp had her Antigonus, 40 ft. high; Douai had Gayant, 22 ft. high, and so on.

Besides the conception of giants, as special races distinct from mankind, it was a common opinion of the ancients that the human race had itself degenerated, the men of primeval ages having been of so far greater stature and strength as to be in fact gigantic. This, for example, is received by Pliny (Hist. Nat. vii. 16), and it becomes a common doctrine of theologians such as Augustine (De civitate Dei, xv. 9), lasting on into times so modern that it may be found in Cruden’s Concordance. Yet so far as can be judged from actual remains, it does not appear that giants, in the sense of tribes of altogether superhuman stature, ever existed, or that the men of ancient time were on the whole taller than those now living. It is now usual to apply the word giant not to superhuman beings but merely to unusually tall men and women. In every race of mankind the great mass of individuals do not depart far from a certain mean or average height, while the very tall or very short men become less and less numerous as they depart from the mean standard, till the utmost divergence is reached in a very few giants on the one hand, and a very few dwarfs on the other. At both ends of the scale, the body is usually markedly out of the ordinary proportions; thus a giant’s head is smaller and a dwarf’s head larger than it would be if an average man had been magnified or diminished. The principle of the distribution of individuals of different sizes in a race or nation has been ably set forth by Quetelet (Physique sociale, vol. ii.; Anthropométrie, books iii. and iv.). Had this principle been understood formerly, we might have been spared the pains of criticizing assertions as to giants 20 ft. high, or even more, appearing among mankind. The appearance of an individual man 20 ft. high involves the existence of the race he is an extreme member of, whose mean stature would be at least 12 to 14 ft., which is a height no human being has been proved on sufficient evidence to have approached (Anthropom. p. 302). Modern statisticians cannot accept the loose conclusion in Buffon (Hist. nat., ed. Sonnini, iv. 134) that there is no doubt of giants having been 10, 12, and perhaps 15 ft. high. Confidence is not even to be placed in ancient asserted measurements, as where Pliny gives to one Gabbaras, an Arabian, the stature of 9 ft. 9 in. (about 9 ft. 5½ in. English), capping this with the mention of Posio and Secundilla, who were half a foot higher. That two persons should be described as both having this same extraordinary measure suggests to the modern critic the notion of a note jotted down on the philosopher’s tablets, and never tested afterwards.

Under these circumstances it is worth while to ask how it is that legend and history so abound in mentions of giants outside all probable dimensions of the human frame. One cause is that, when the story-teller is asked the actual stature of the huge men who figure in his tales, he is not sparing of his inches and feet. What exaggeration can do in this way may be judged from the fact that the Patagonians, whose average height (5 ft. 11 in.) is really about that of the Chirnside men in Berwickshire, are described in Pigafetta’s Voyage round the World as so monstrous that the Spaniards’ heads hardly reached their waists. It is reasonable to suppose, with Professor Nilsson (Primitive Inhabitants of Scandinavia, chap. vi.), that in the traditions of early Europe tribes of savages may have thus, if really tall, expanded into giants, or, if short, dwindled into dwarfs. Another cause which is clearly proved to have given rise to giant-myths of yet more monstrous type has been the discovery of great fossil bones, as of mammoth or mastodon, which were formerly supposed to be bones of giants (see Tylor, Early History of Mankind, chap. xi.; Primitive Culture, chap. x.). A tooth weighing 4¾ ℔ and a thigh-bone 17 ft. long having been found in New England in 1712 (they were probably mastodon), Dr Increase Mather thereupon communicated to the Royal Society of London his theory of the existence of men of prodigious stature in the antediluvian world (see the Philosophical Transactions, xxiv. 85; D. Wilson, Prehistoric Man, i. 54). The giants in the streets of Basel and supporting the arms of Lucerne appear to have originated from certain fossil bones found in 1577, examined by the physician Felix Plater, and pronounced to have belonged to a giant some 16 or 19 ft. high. These bones have since been referred to a very different geological genus, but Plater’s giant skeleton was accepted early in the 19th century as a genuine relic of the giants who once inhabited the earth. Of giants in real life whose stature has been authentically recorded Quetelet gives the palm to Frederick the Great’s Scotch giant, who measured about 8 ft. 3 in. But since his time there have been several giants who have equalled or surpassed this figure. Patrick Cotler, an Irishman, who died at Clifton, Bristol, in 1802, was 8 ft. 7 in. high. The famous “Irish giant” O’Brien (Charles Byrne), whose skeleton is preserved in the museum of the Royal College of Surgeons, London, was 8 ft. 4 in. Chang (Chang-woo-goo), who appeared in London in 1865-1866 and again in 1880, was 8 ft. 2 in. Josef Winkelmaier, an Austrian, exhibited in London on the 10th of January 1887, was 8 ft. 9 in.; while Elizabeth Lyska, a Russian child of twelve, when shown in London in 1889, had already reached 6 ft. 8 in. Machnow, a Russian, born at Charkow, was exhibited in London in his twenty-third year in 1905; he then stood 9 ft. 3 in., and weighed 360 ℔ (25 st. 10 ℔). From his wrist to the top of his second finger he measured 2 ft. (see The Times, 10th February 1905).

The whole subject of giant myths and the now entirely exploded theory that mankind has, as far as stature is concerned, degenerated since prehistoric times, has been ably dealt with in a volume published by MM. P. E. Launois and P. Roy, entitled Études biologiques sur les géans (Paris, 1904). See also E. J. Wood, Giants and Dwarfs (1860).

GIANT’S CAUSEWAY, a promontory of columnar basalt, situated on the north coast of county Antrim, Ireland. It is divided by whin-dykes into the Little Causeway, the Middle Causeway or “Honeycomb,” as it is locally termed, and the Larger or Grand Causeway. The pillars composing it are close-fitting and for the most part somewhat irregular hexagons, made up of articulated portions varying from a few inches to some feet in depth, and concave or convex at the upper and lower surfaces. In diameter the pillars vary from 15 to 20 in., and in height some are as much as 20 ft. The Great Causeway is chiefly from 20 to 30, and for a few yards in some places nearly 40 ft. in breadth, exclusive of outlying broken pieces of rock. It is highest at its narrowest part. At about half a dozen yards from the cliff, widening and becoming lower, it extends outwards into a platform, which has a slight seaward inclination, but is easy to walk upon, and for nearly 100 yds. is always above water. At the distance of about 150 yds. from the cliff it turns a little to the eastward for 20 or 30 yds., and then sinks into the sea. The neighbouring cliffs exhibit in many places columns similar to those of the Giant’s Causeway, a considerable exposure of them being visible at a distance of 500 to 600 yds. in the bay to the east. A group of these columns, from their arrangement, have been fancifully named the “Giant’s Organ.” The most remarkable of the cliffs is the Pleaskin, the upper pillars of which have the appearance of a colonnade, and are 60 ft. in height; beneath these is a mass of coarse black amygdaloid, of the same thickness, underlain by a second range of basaltic pillars, from 40 to 50 ft. in height. The view eastward over Bengore and towards Fair Head is magnificent. Near the Giant’s Causeway are the ruins of the castles of Dunseverick and Dunluce, situated high above the sea on isolated crags, and the swinging bridge of Carrick-a-Rede, spanning a chasm 80 ft. deep, and connecting a rock, which is used as a salmon-fishing station, with the mainland. In 1883 an electric railway, the first in the United Kingdom, was opened for traffic, connecting the Causeway with Portrush and Bushmills. After a protracted lawsuit (1897-1898) the Causeway, and certain land in the vicinity, were declared to be private property, and a charge is made for admission.

GIANT’S KETTLE, Giant’s Cauldron or Pot-Hole, in physical geography, the name applied to cavities or holes which appear to have been drilled in the surrounding rocks by eddying currents of water bearing stones, gravel and other detrital matter. The size varies from a few inches to several feet in depth and diameter. The commonest occurrence is in regions where glaciers exist or have existed; a famous locality is the Gletscher Garten of Lucerne, where there are 32 giant’s kettles, the largest being 26 ft. wide and 30 ft. deep; they are also common in Germany, Norway and in the United States. It appears that water, produced by the thawing of the ice and snow, forms streams on the surface of the glacier, which, having gathered into their courses a certain amount of morainic débris, are finally cast down a crevasse as a swirling cascade or moulin. The sides of the crevasse are abraded, and a vertical shaft is formed in the ice. The erosion may be continued into the bed of the glacier, and, the ice having left the district, the giant’s kettle so formed is seen as an empty shaft, or as a pipe filled with gravel, sand or boulders. Such cavities and pipes afford valuable evidence as to the former extent of glaciers (see J. Geikie, The Great Ice Age). Similar holes are met with in river beds at the foot of cascades, and under some other circumstances. The term “pot-hole” is also sometimes used synonymously with “swallow-hole” (q.v.).

GIAOUR (a Turkish adaptation of the Pers. gâwr or gōr, an infidel), a word used by the Turks to describe all who are not Mahommedans, with especial reference to Christians. The word, first employed as a term of contempt and reproach, has become so general that in most cases no insult is intended in its use; similarly, in parts of China, the term “foreign devil” has become void of offence. A strict analogy to giaour is found in the Arabic kaffir, or unbeliever, which is so commonly in use as to have become the proper name of peoples and countries.

GIB, ADAM (1714-1788), Scottish divine and leader of the Antiburgher section of the Scottish Secession Church, was born on the 14th of April 1714 in the parish of Muckhart, Perthshire, and, on the completion of his literary and theological studies at Edinburgh and Perth, was licensed as a preacher in 1740. His eldest brother being a prodigal he succeeded to the paternal estate, but threw the will into the fire on his brother’s promising to reform. In 1741 he was ordained minister of the large Secession congregation of Bristo Street, Edinburgh. In 1745 he was almost the only minister of Edinburgh who continued to preach against rebellion while the troops of Charles Edward were in occupation of the town. When in 1747 “the Associate Synod,” by a narrow majority, decided not to give full immediate effect to a judgment which had been passed in the previous year against the lawfulness of the “Burgess Oath,” Gib led the protesting minority, who separated from their brethren and formed the Antiburgher Synod (April 10th) in his own house in Edinburgh. It was chiefly under his influence that it was agreed by this ecclesiastical body at subsequent meetings to summon to the bar their “Burgher” brethren, and finally to depose and excommunicate them for contumacy. Gib’s action in forming the Antiburgher Synod led, after prolonged litigation, to his exclusion from the building in Bristo Street where his congregation had met. In 1765 he made a vigorous and able reply to the General Assembly of the Church of Scotland, which had stigmatized the Secession as “threatening the peace of the country.” From 1753 till within a short period of his death, which took place on the 18th of June 1788, he preached regularly in Nicolson Street church, which was constantly filled with an audience of two thousand persons. His dogmatic and fearless attitude in controversy earned for him the nickname “Pope Gib.”

Principal publications: Tables for the Four Evangelists (1770, and with author’s name, 1800); The Present Truth, a Display of the Secession Testimony (2 vols., 1774); Vindiciae dominicae (Edin., 1780). See Chambers’s Eminent Scotsmen; also article United Presbyterian Church.

GIBARA, or Jibara (once “Punta del Yarey” and “Yarey de Gibara”), a north-coast city of Oriente Province, Cuba, 80 m. N.W. of Santiago de Cuba. Pop. (1907) 6170. It is served by railway to the S.S.W., to Holguín and Cacocum (where it connects with the main line between Santiago and Havana), and is a port of call for the American Munson Line. It lies on a circular harbour, about 1 m. in diameter, which, though open to the N., affords fair shelter. At the entrance to the harbour is San Fernando, an old fort (1817), and the city is very quaint in appearance. At the back of the city are three stone-topped hills, Silla, Pan and Tabla, reputed to be those referred to by Columbus in his journal of his first voyage. Enclosing the town is a stone wall, built by the Spaniards as a defence against attack during the rebellion of 1868-1878. Gibara is the port of Holguín. It exports cedar, mahogany, tobacco, sugar, tortoise-shell, Indian corn, cattle products, coco-nuts and bananas; and is the centre of the banana trade with the United States. Gibara is an old settlement, but it did not rise above the status of a petty village until after 1817; its importance dates from the opening of the port to commerce in 1827.

GIBBON, EDWARD (1737-1794), English historian, was descended, he tells us in his autobiography, from a Kentish family of considerable antiquity; among his remoter ancestors he reckons the lord high treasurer Fiennes, Lord Say and Sele, whom Shakespeare has immortalized in his Henry VI. His grandfather was a man of ability, an enterprising merchant of London, one of the commissioners of customs under the Tory ministry during the last four years of Queen Anne, and, in the judgment of Lord Bolingbroke, as deeply versed in the “commerce and finances of England” as any man of his time. He was not always wise, however, either for himself or his country; for he became deeply involved in the South Sea Scheme, in the disastrous collapse of which (1720) he lost the ample wealth he had amassed. As a director of the company, moreover, he was suspected of fraudulent complicity, taken into custody and heavily fined; but £10,000 was allowed him out of the wreck of his estate, and with this his skill and enterprise soon constructed a second fortune. He died at Putney in 1736, leaving the bulk of his property to his two daughters—nearly disinheriting his only son, the father of the historian, for having married against his wishes. This son (by name Edward) was educated at Westminster1 and Cambridge, but never took a degree, travelled, became member of parliament, first for Petersfield (1734), then for Southampton (1741), joined the party against Sir Robert Walpole, and (as his son confesses, not much to his father’s honour) was animated in so doing by “private revenge” against the supposed “oppressor” of his family in the South Sea affair. If so, revenge, as usual, was blind; for Walpole had sought rather to moderate than to inflame public feeling against the projectors.

The historian was born at Putney, Surrey, April 27 (Old Style), 1737. His mother, Judith Porten, was the daughter of a London merchant. He was the eldest of a family of six sons and a daughter, and the only one who survived childhood; his own life in youth hung by so mere a thread as to be again and again despaired of. His mother, between domestic cares and constant infirmities (which, however, did not prevent an occasional plunge into fashionable dissipation in compliance with her husband’s wishes), did but little for him. The “true mother of his mind as well as of his health” was a maiden aunt—Catherine Porten by name—with respect to whom he expresses himself in language of the most grateful remembrance. “Many anxious and solitary days,” says Gibbon, “did she consume with patient trial of every mode of relief and amusement. Many wakeful nights did she sit by my bedside in trembling expectation that each hour would be my last.” As circumstances allowed, she appears to have taught him reading, writing and arithmetic—acquisitions made with so little of remembered pain that “were not the error corrected by analogy,” he says, “I should be tempted to conceive them as innate.” At seven he was committed for eighteen months to the care of a private tutor, John Kirkby by name, and the author, among other things, of a “philosophical fiction” entitled the Life of Automathes. Of Kirkby, from whom he learned the rudiments of English and Latin grammar, he speaks gratefully, and doubtless truly, so far as he could trust the impressions of childhood. With reference to Automathes he is much more reserved in his praise, denying alike its originality, its depth and its elegance; but, he adds, “the book is not devoid of entertainment or instruction.”

In his ninth year (1746), during a “lucid interval of comparative health,” he was sent to a school at Kingston-upon-Thames; but his former infirmities soon returned, and his progress, by his own confession, was slow and unsatisfactory. “My timid reserve was astonished by the crowd and tumult of the school; the want of strength and activity disqualified me for the sports of the play-field.... By the common methods of discipline, at the expense of many tears and some blood, I purchased the knowledge of the Latin syntax,” but manifestly, in his own opinion, the Arabian Nights, Pope’s Homer, and Dryden’s Virgil, eagerly read, had at this period exercised a much more powerful influence on his intellectual development than Phaedrus and Cornelius Nepos, “painfully construed and darkly understood.”

In December 1747 his mother died, and he was taken home. After a short time his father removed to the “rustic solitude” of Buriton (Hants), but young Gibbon lived chiefly at the house of his maternal grandfather at Putney, where, under the care of his devoted aunt, he developed, he tells us, that passionate love of reading “which he would not exchange for all the treasures of India,” and where his mind received its most decided stimulus. Of 1748 he says, “This year, the twelfth of my age, I shall note as the most propitious to the growth of my intellectual stature.” After detailing the circumstances which unlocked for him the door of his grandfather’s “tolerable library,” he says, “I turned over many English pages of poetry and romance, of history and travels. Where a title attracted my eye, without fear or awe I snatched the volume from the shelf.” In 1749, in his twelfth year, he was sent to Westminster, still residing, however, with his aunt, who, rendered destitute by her father’s bankruptcy, but unwilling to live a life of dependence, had opened a boarding-house for Westminster school. Here in the course of two years (1749-1750), interrupted by danger and debility, he “painfully climbed into the third form”; but it was left to his riper age to “acquire the beauties of the Latin and the rudiments of the Greek tongue.” The continual attacks of sickness which had retarded his progress induced his aunt, by medical advice, to take him to Bath; but the mineral waters had no effect. He then resided for a time in the house of a physician at Winchester; the physician did as little as the mineral waters; and, after a further trial of Bath, he once more returned to Putney, and made a last futile attempt to study at Westminster. Finally, it was concluded that he would never be able to encounter the discipline of a school; and casual instructors, at various times and places, were provided for him. Meanwhile his indiscriminate appetite for reading had begun to fix itself more and more decidedly upon history; and the list of historical works devoured by him during this period of chronic ill-health is simply astonishing. It included, besides Hearne’s Ductor historicus and the successive volumes of the Universal History, which was then in course of publication, Littlebury’s Herodotus, Spelman’s Xenophon, Gordon’s Tacitus, an anonymous translation of Procopius; “many crude lumps of Speed, Rapin, Mezeray, Davila, Machiavel, Father Paul, Bower, &c., were hastily gulped. I devoured them like so many novels; and I swallowed with the same voracious appetite the descriptions of India and China, of Mexico and Peru.” His first introduction to the historic scenes the study of which afterwards formed the passion of his life took place in 1751, when, while along with his father visiting a friend in Wiltshire, he discovered in the library “a common book, the continuation of Echard’s Roman History.” “To me the reigns of the successors of Constantine were absolutely new; and I was immersed in the passage of the Goths over the Danube, when the summons of the dinner bell reluctantly dragged me from my intellectual feast.” Soon afterwards his fancy kindled with the first glimpses into Oriental history, the wild “barbaric” charm of which he never ceased to feel. Ockley’s book on the Saracens “first opened his eyes” to the striking career of Mahomet and his hordes; and with his characteristic ardour of literary research, after exhausting all that could be learned in English of the Arabs and Persians, the Tatars and Turks, he forthwith plunged into the French of D’Herbelot, and the Latin of Pocock’s version of Abulfaragius, sometimes understanding them, but oftener only guessing their meaning. He soon learned to call to his aid the subsidiary sciences of geography and chronology, and before he was quite capable of reading them had already attempted to weigh in his childish balance the competing systems of Scaliger and Petavius, of Marsham and Newton. At this early period he seems already to have adopted in some degree the plan of study he followed in after life and recommended in his Essai sur l’étude—that is, of letting his subject rather than his author determine his course, of suspending the perusal of a book to reflect, and to compare the statements with those of other authors—so that he often read portions of many volumes while mastering one.

Towards his sixteenth year he tell us “nature displayed in his favour her mysterious energies,” and all his infirmities suddenly vanished. Thenceforward, while never possessing or abusing the insolence of health, he could say “few persons have been more exempt from real or imaginary ills.” His unexpected recovery revived his father’s hopes for his education, hitherto so much neglected if judged by ordinary standards; and accordingly in January 1752 he was placed at Esher, Surrey, under the care of Dr Francis, the well-known translator of Horace. But Gibbon’s friends in a few weeks discovered that the new tutor preferred the pleasures of London to the instruction of his pupils, and in this perplexity decided to send him prematurely to Oxford, where he was matriculated as a gentleman commoner of Magdalen College, 3rd April 1752. According to his own testimony he arrived at the university “with a stock of information which might have puzzled a doctor, and a degree of ignorance of which a schoolboy might be ashamed.” And indeed his huge wallet of scraps stood him in little stead at the trim banquets to which he was invited at Oxford, while the wandering habits by which he had filled it absolutely unfitted him to be a guest. He was not well grounded in any of the elementary branches, which are essential to university studies and to all success in their prosecution. It was natural, therefore, that he should dislike the university, and as natural that the university should dislike him. Many of his complaints of the system were certainly just; but it may be doubted whether any university system would have been profitable to him, considering his antecedents. He complains especially of his tutors, and in one case with abundant reason; but, by his own confession, they might have recriminated with justice, for he indulged in gay society, and kept late hours. His observations, however, on the defects of the English university system, some of which have only very recently been removed, are acute and well worth pondering, however little relevant to his own case. He remained at Magdalen about fourteen months. “To the university of Oxford,” he says, “I acknowledge no obligation; and she will as cheerfully renounce me for a son as I am willing to disclaim her for a mother. I spent fourteen months at Magdalen College; they proved the fourteen months the most idle and unprofitable of my whole life.”

But thus “idle” though he may have been as a “student,” he already meditated authorship. In the first long vacation—during which he, doubtless with some sarcasm, says that “his taste for books began to revive”—he contemplated a treatise on the age of Sesostris, in which (and it was characteristic) his chief object was to investigate not so much the events as the probable epoch of the reign of that semi-mythical monarch, whom he was inclined to regard as having been contemporary with Solomon. “Unprovided with original learning, unformed in the habits of thinking, unskilled in the arts of composition, I resolved to write a book”; but the discovery of his own weakness, he adds, was the first symptom of taste. On his first return to Oxford the work was “wisely relinquished,” and never afterwards resumed. The most memorable incident, however, in Gibbon’s stay at Oxford was his temporary conversion to the doctrines of the church of Rome. The bold criticism of Middleton’s recently (1749) published Free Enquiry into the Miraculous Powers which are supposed to have subsisted in the Christian Church appears to have given the first shock to his Protestantism, not indeed by destroying his previous belief that the gift of miraculous powers had continued to subsist in the church during the first four or five centuries of Christianity, but by convincing him that within the same period most of the leading doctrines of popery had been already introduced both in theory and in practice. At this stage he was introduced by a friend (Mr Molesworth) to Bossuet’s Variations of Protestantism and Exposition of Catholic Doctrine (see Gibbon, Decline and Fall, c. xv., note 79). “These works,” says he, “achieved my conversion, and I surely fell by a noble hand.” In bringing about this “fall,” however, Parsons the Jesuit appears to have had a considerable share; at least Lord Sheffield has recorded that on the only occasion on which Gibbon talked with him on the subject he imputed the change in his religious views principally to that vigorous writer, who, in his opinion, had urged all the best arguments in favour of Roman Catholicism. But be this as it may, he had no sooner adopted his new creed than he resolved to profess it; “a momentary glow of enthusiasm” had raised him above all temporal considerations, and accordingly, on June 8, 1753, he records that having “privately abjured the heresies” of his childhood before a Catholic priest of the name of Baker, a Jesuit, in London, he announced the same to his father in an elaborate controversial epistle which his spiritual adviser much approved, and which he himself afterwards described to Lord Sheffield as having been “written with all the pomp, the dignity, and self-satisfaction of a martyr.”

The elder Gibbon heard with indignant surprise of this act of juvenile apostasy, and, indiscreetly giving vent to his wrath, precipitated the expulsion of his son from Oxford, a punishment which the culprit, in after years at least, found no cause to deplore. In his Memoirs he speaks of the results of his “childish revolt against the religion of his country” with undisguised self-gratulation. It had delivered him for ever from the “port and prejudice” of the university, and led him into the bright paths of philosophic freedom. That his conversion was sincere at the time, that it marked a real if but a transitory phase of genuine religious conviction, we have no reason to doubt, notwithstanding the scepticism he has himself expressed. “To my present feelings it seems incredible that I should ever believe that I believed in transubstantiation,” he indeed declares; but his incredulous astonishment is not unmixed with undoubting pride. “I could not blush that my tender mind was entangled in the sophistry which had reduced the acute and manly understandings of a Chillingworth or a Bayle.” Nor is the sincerity of the Catholicism he professed in these boyish days in any way discredited by the fact of his subsequent lack of religion. Indeed, as one of the acutest and most sympathetic of his critics has remarked, the deep and settled grudge he has betrayed towards every form of Christian belief, in all the writings of his maturity, may be taken as evidence that he had at one time experienced in his own person at least some of the painful workings of a positive faith.

But little time was lost by the elder Gibbon in the formation of a new plan of education for his son, and in devising some method which if possible might effect the cure of his “spiritual malady.” The result of deliberation, aided by the advice and experience of Lord Eliot, was that it was almost immediately decided to fix Gibbon for some years abroad under the roof of M. Pavilliard, a Calvinist minister at Lausanne. In as far as regards the instructor and guide thus selected, a more fortunate choice could scarcely have been made. From the testimony of his pupil, and the still more conclusive evidence of his own correspondence with the father, Pavilliard seems to have been a man of singular good sense, temper and tact. At the outset, indeed, there was one considerable obstacle to the free intercourse of tutor and pupil: M. Pavilliard appears to have known little of English, and young Gibbon knew practically nothing of French. But this difficulty was soon removed by the pupil’s diligence; the very exigencies of his situation were of service to him in calling forth all his powers, and he studied the language with such success that at the close of his five years’ exile he declares that he “spontaneously thought” in French rather than in English, and that it had become more familiar to “ear, tongue and pen.” It is well known that in after years he had doubts whether he should not compose his great work in French; and it is certain that his familiarity with that language, in spite of considerable efforts to counteract its effects, tinged his style to the last.