deutschen Sprachkunst (1748) were of importance for the development of German style and the purification of the language. He wrote several plays, of which Der sterbende Cato (1732), an adaptation of Addison's tragedy and a French play on the same theme, was long popular on the stage. In his Deutsche Schaubühne (6 vols., 1740-1745), which contained mainly translations from the French, he provided the German stage with a classical repertory, and his bibliography of the German drama, Nötiger Vorrat zur Geschichte der deutschen dramatischen Dicktkunst (1757-1765), is still valuable. He was also the editor of several journals devoted to literary criticism. As a critic, Gottsched insisted on German literature being subordinated to the laws of French classicism; he enunciated rules by which the playwright must be bound, and abolished bombast and buffoonery from the serious stage. While such reforms obviously afforded a healthy corrective to the extravagance and want of taste which were rampant in the German literature of the time, Gottsched went too far. In 1740 he came into conflict with the Swiss writers Johann Jakob Bodmer (q.v.} and Johann Jakob Breitinger (1701-1776), who, under the influence of Addison and contemporary Italian critics, demanded that the poetic imagination should not be hampered by artificial rules; they pointed to the great English poets, and especially to Milton. Gottsched, although not blind to the beauties of the English writers, clung the more tenaciously to his principle that poetry must be the product of rules, and, in the fierce controversy which for a time raged between Leipzig and Zürich, he was inevitably defeated. His influence speedily declined, and before his death his name became proverbial for pedantic folly.
His wife, Luise Adelgunde Victorie, née Kulmus (1713-1762), in some respects her husband's intellectual superior, was an author of some reputation. She wrote several popular comedies, of which Das Testament is the best, and translated the Spectator (9 vols., 1730-1743), Pope's Rape of the Lock (1744) and other English and French works. After her death her husband edited her Sämtliche kleinere Gedichte with a memoir (1763).
See T. W. Danzel, Gottsched und seine Zeit (Leipzig, 1848); J. Crüger, Gottsched, Bodmer, und Breitinger (with selections from their writings) (Stuttgart, 1884); F. Servaes, Die Poetik Gottscheds und der Schweizer (Strassburg, 1887); E. Wolff, Gottscheds Stellung im deutschen Bildungsleben (2 vols., Kiel, 1895-1897), and G. Waniek, Gottsched und die deutsche Literatur seiner Zeit (Leipzig, 1897). On Frau Gottsched, see P. Schlenther, Frau Gottsched und die bürgerliche Komödie (Berlin, 1886).
GÖTZ, JOHANN NIKOLAUS (1721-1781), German poet, was
born at Worms on the 9th of July 1721. He studied theology
at Halle (1739-1742), where he became intimate with the poets
Johann W. L. Gleim and Johann Peter Uz, acted for some years
as military chaplain, and afterwards filled various other ecclesiastical
offices. He died at Winterburg on the 4th of November
1781. The writings of Götz consist of a number of short lyrics
and several translations, of which the best is a rendering of
Anacreon. His original compositions are light, lively and
sparkling, and are animated rather by French wit than by
German depth of sentiment. The best known of his poems is
Die Mädcheninsel, an elegy which met with the warm approval
of Frederick the Great.
Götz's Vermischte Gedichte were published with biography by K. W. Ramler (Mannheim, 1785; new ed., 1807), and a collection of his poems, dating from the years 1745-1765, has been edited by C. Schüddekopf in the Deutsche Literaturdenkmale des 18. und 19. Jahrhunderts (1893). See also Briefe von und an J. N. Götz, edited by C. Schüddekopf (1893).
GOUACHE, a French word adapted from the Ital. guazzo
(probably in origin connected with "wash"), meaning literally
a "ford," but used also for a method of painting in opaque
water-colour. The colours are mixed with or painted in a
vehicle of gum or honey, and whereas in true water-colours
the high lights are obtained by leaving blank the surface of the
paper or other material used, or by allowing it to show through
a translucent wash in "gouache," these are obtained by white
or other light colour. "Gouache" is frequently used in miniature
painting.
GOUDA (or Ter Gouwe), a town of Holland, in the province
of South Holland, on the north side of the Gouwe at its confidence
with the Ysel, and a junction station 12½ m. by rail N.E. of Rotterdam.
Pop. (1900) 22,303. Tramways connect it with Bodegraven
(5½ m. N.) on the old Rhine and with Oudewater (8 m. E.) on
the Ysel, and there is a regular steamboat service in various
directions, Amsterdam being reached by the canalized Gouwe;
Aar, Drecht and Amstel. The town of Gouda is laid out in a
fine open manner and, like other Dutch towns, is intersected by
numerous canals. On its outskirts pleasant walks and fine
trees have replaced the old fortifications. The Groote Markt
is the largest market-square in Holland. Among the numerous
churches belonging to various denominations, the first place must
be given to the Groote Kerk of St John. It was founded in 1485,
but rebuilt after a fire in 1552, and is remarkable for its dimensions
(345 ft. long and 1 50 ft. broad), for a large and celebrated organ,
and a splendid series of over forty stained-glass windows presented
by cities and princes and executed by various well-known artists,
including the brothers Dirk (fl. c. 1577) and Wouter (d. c. 1590)
Crabeth, between the years 1555 and 1603 (see Explanation
of the Famous and Renowned Glass Works, &c., Gouda, 1876,
reprinted from an older volume, 1718). Other noteworthy
buildings are the Gothic town hall, founded in 1449 and rebuilt
in 1690, and the weigh-house, built by Pieter Post of Haarlem
(1608–1669) and adorned with a fine relief by Barth. Eggers
(d. c. 1690). The museum of antiquities (1874) contains an
exquisite chalice of the year 1425 and some pictures and portraits
by Wouter Crabeth the younger, Corn. Ketel (a native of Gouda,
1548–1616) and Ferdinand Bol (1616–1680). Other buildings
are the orphanage, the hospital, a house of correction for women
and a music hall.
In the time of the counts the wealth of Gouda was mainly derived from brewing and cloth-weaving; but at a later date the making of clay tobacco pipes became the staple trade, and, although this industry has somewhat declined, the churchwarden pipes of Gouda are still well known and largely manufactured. In winter-time it is considered a feat to skate hither from Rotterdam and elsewhere to buy such a pipe and return with it in one's mouth without its being broken. The mud from the Ysel furnishes the material for large brick-works and potteries; there are also a celebrated manufactory of stearine candles, a yarn factory, an oil refinery and cigar factories. The transit and shipping trade is considerable, and as one of the principal markets of South Holland, the round, white Gouda cheeses are known throughout Europe. Boskoop, 5 m. N. by W. of Gouda on the Gouwe, is famous for its nursery gardens; and the little old-world town of Oudewater as the birthplace of the famous theologian Arminius in 1560. The town hall (1588) of Oudewater contains a picture by Dirk Stoop (d. 1686), commemorating the capture of the town by the Spaniards in 1575 and the subsequent sack and massacre.
GOUDIMEL, CLAUDE, muscial composer of the 16th century, was born about 1510. The French and the Belgians claim him as their Countryman. In all probability he was born at Besançon, for in his edition of the songs of Arcadelt, as well as in the mass of 1554, he calls himself "natif de Besançon" and "Claudius Godimellus Vescontinus." This discountenances the theory of Ambros that he was born at Vaison near Avignon. As to his early education we know little or nothing, but the excellent Latin in which some of his letters were written proves that, in addition to his musical knowledge, he also acquired a good classical training. It is supposed that he was in Rome in 1540 at the head of a music-school, and that besides many other celebrated musicians, Palestrina was amongst his pupils. About the middle of the century he seems to have left Rome for Paris, where, in conjunction with Jean Duchemin, he published, in 1555, a musical setting of Horace's Odes. 'Infinitely more important is another collection of vocal pieces, a setting of the celebrated French version of the Psalms by Marot and Beza published in 1565. It is written in four parts, the melody being assigned to the tenor. The invention of the melodies was long ascribed to Goudimel, but- they have now definitely been proved
