tion of measures for the welfare ofhis country. He retired from public life in 1848, and died at Hornau, 22d October 1852. Three of the sons of Baron Gagem have attained considerable en1inence—one as a soldier, and two, who are
still living (1879), as politicians.
His principal works are—Dz'c Rcsztltatc dcr Mttcngcschvlchtc, 6 vols., 1808-1822; Die Natiomtlgeschichte dcr Deutschen, Vienna, 1812; 2d ed. in 2 vols., Frankfort, 1825-26; Main Anthcil an der ‘Politik, 4 vols., Stuttgart, 1823-33; Kritik dcs Velkcrrccltts, Leipsie, 1840; and Civilisation, Leipsic, 1847.
GAILLAC, the capital of an arrondissement in the department of Tarn, France, is situated on the right bank of the Tarn, 12 miles W. of Albi. It possesses two churches of the 13th century, a communal college, a hospital, a theatre, and a military prison. Its industries include the manufacture of wine casks, leather, brandy, bricks, and various kinds of coarse cloth; and it has a con- siderable trade in corn, vegetables, dried plums, and wine, the white and red wines of the arrondissement having a high Feputation. Gaillac was in existence in the 7th century. It was captured by the English in 1280, and its archives were taken to London. Even at that time it was famed for its wines, which, under the name of Vin. du Cog, were exported to England and Holland. The population in 1876 was 6099.
GAILLARD, Gabriel Henri (1726–1806), a French historian, was born at Ostel, Picardy, in 1726. He was educated for the bar, but after finishing his studies adopted the literary profession, ultimately devoting his chief atten- tion to history. In 1801 he was chosen a member of the French Academy, and he was also one of the original members of the Institute. For forty years he was the intimate friend of the minister Malesherbes. He died at St Firmin, near Chantilly, 13th February 1806. Gaillard is painstaking and impartial in his statement of facts, and his style is correct and elegant, but the u11ity of his narra- tive is somewhat destroyed by digressions, and by his method of treating war, politics, civil administration, and ecclesiastical affairs under separate heads.
His most important work is his Hz'stoz'7'c dc la rivalité dc la France ct dc l’Anglctc7-rc, in 11 vols., 1771-1777; and among his other works may be mentioned Essai (la rhétoriquc frtnzcctise, ¢‘1. l’1Is.z_r/c (l-s jczuzcs clcmoiscllcs, 1745, often reprinted, and in 1822 with a life of the author; Ilistoirc dc Jlaric dc Bourgognc, 1757; 1IL'stoz'rc dc Francois I., 7 vols. 1776-1779; Hz'sto2're dos gmndcs r_nwrcIlcs cntre C’/zrcrlcs V. ct Frmzcois I., 2 vols., 1777; H istoirc dc C’/uu'lr:nza_r/nr, 2 vols., 1782; H ist0z'7'c do In rivalité dc la Fm-ncc at n'- l'Espa_.r/21.0, 8 vols., 1801; Dz'cti07ma27rc historiquc, 6 vols., 1789-1804, making part of the Encyclopédic méthocliquc; a11d .11:-lrznr_‘/es littéraircs, containing élogcs on Charles V., Henry IV. , 1)-seartes, Corneille, L-.1 F ontaine, Malesherbes, and others.
GAINSBOROUGH, a market-town and port of Lincoln- shire, is situated on the right bank of the Trent, 21 miles above its junction with the estuary of the Humber, and 16 miles N.W. of Lincoln. It consists chiefly of one long well-paved street running parallel to the river, which is here crossed by a fine stone bridge of three arches. The parish church, a fine building in the Grecian style, was rebuilt in 1748, with the exception of the old tower, which belongs to the 12th century. Holy Trinity church, built in 1843, has annexed to it an ecclesiastical district taken out of the old parish of Gainsborough. The old hall, supposed to have been partly built by John of Gaunt, is a curious oak- timber framed building, forming three sides of a quadrangle, and having a tower 78 feet high. It has been restored, and part of it converted into a corn exchange and assembly re ems. Gainsborough possesses a grammar school (founded in 1589 by a charter of Queen Elizabeth) and other schools, 11 t0'D-1la11, a county co11rt-house, a literary institute, a ten1p.3rance hall, a savings-bank, and a provident dispensary. S_".1i[- ltuilding is carried on, and there are manufactories of hnse.-d cake, ropes, malt, and tobacco, with breweries and iron and brass foundries. Vessels of 200 tons burden can come up to the town. The population in 1871 was 7564, and since that date has been rapidly increasing.
GAINSBOROUGH, Thomas (1727–1788), a painter famous for the truth and elegance of his portraits, and for the simple beauty of his landscapes, was born at Sudbury, Suffolk, in the year 1727. His father, who carried on the business of a woollen crape-maker in that town, was of a respectable character and family, and was noted for his skill in fencing; his mother excelled in flower-painting, and encouraged her son in the use of the pencil. There were nine children of the marriage. At ten years old, Gains- borough had sketched every fine tree and picturesque cottage near Sudbury, and at fifteen, having filled his task- books with caricatures of his schoolmaster, forged his father's handwriting to get a holiday, and sketched the portrait of a man whom he had detected in the act of rob- bing his father's orchard, he was allowed to follow the bent of his genius in London, under such advantages as Hayman, the historical painter, and the academy in St Martin's Lane, could afford. Three years of study in the metropolis were succeeded by two years of idleness in the country. Here he fell in love with Margaret Burr, a young lady of many charms, including an annuity of £200, married her after a short courtship, and, at the age of twenty, became a householder in Ipswich, his rent being £6 a year. The annuity was reported to come from Margaret’s real (not her putative) father, who was one of the exiled Stuart princes, or else the duke of Bedford. At Ipswich, Gainsborough tells us, he was “ chiefly in the face--way,” though his sitters were not so numerous as to prevent him from often rambling with his friend Joshua Kirby (president of the Society of Artists) on the banks of the Orwell, from painting many landscapes with an attention to details which his later works never exhibited, or from joining a musical club, and enter- taining himself and his fellow—townsmen by giving concerts. But as he advanced in years he became ambitions of advancing in reputation. Bath was then the general resort of wealth and fashion, and to that city, towards the close of the year 1759, he removed with his wife and two daughters, the only issue of their marriage. His studio in the circus was soon tbronged with visitors ; he gradually raised his price for a half-length portrait from 5 to 40 guineas, and for a whole-length from 8 to 100 guineas. Among his sitters at this period were the authors Sterne and Richardson, and the actors Quin, Henderson, and Garrick. Meanwhile he contributed both portraits and landscapes to the annual exhibitions in London. He indulged his taste for music by learning to play the viol-di-gamba, the harp, the hautboy, the violoncello. His house harboured Italian, German, French, and Eng- lish musicians. He haunted the green-room of Palmer's theatre, and painted gratuitously the portraits of many of the actors. He gave away his sketches and landscapes to any one who had taste or assurance enough to ask for them; and in the summer of 1774, having already attained a position of great prosperity, he took his depar- ture for the metropolis, and fixed his residence at Sehomberg House, Pall Mall, a noble mansion still standing, for which the artist paid £300 a year.
he received a summons to the palace, and to the end of his career he divided with West the favour of the court, and with Reynolds the favour of the town. Sheridan, Burke, Clive, Blackstone, Hurd, were among the number of those who sat to him. But in London as in Bath his landscapes were exhibited, were commended, won the good opinion of Walpole the fastidious and Wolc )t the surly, and ‘were year after year returned to him, "till they stood,” says Sir
William Beeehe ', “ranged in long lines from his hall to his
