sublime. But, as Ellis, in his Specimens of the Early English Poets, observes, " His narrative is often quite petrifying ; and when we read in his works the tales with which we have been familiarized in the poems of Ovid, we feel a mixture of surprise and despair at the perverse industry employed in removing every detail on which the imagination had been accustomed to fasten. The author of the Metamorphoses was a poet, and at least sufficiently fond of ornament. Gower considers him as a mere annalist, scrupulously preserves his facts, relates them with great perspicuity, and is fully satisfied when he has extracted from them as much morality as they can reasonably be ex pected to furnish." As Professor Lowell has well remarked, Gower " has positively raised tediousness to the precision of a science." Though his descriptions are often extremely agreeable, and his diction easy and smooth, his prolixity, and the prosaic feebleness of the conceptions, will prevent the Lover s Confession from ever rivalling the writings of Chaucer, or even approximating them in popularity.
See Todd s Illustrations of the Lives and Writings of Gower a iwl Chaucer; Ellis s Specimens of the Early English Poets; Craik s Hist. Lit.; Warton s Hist. Eng. Poetry; Godwin s Life of Chaucer; Motley s English Writers ; Sir Harris Nicolas s Life of Chaucer ; Mrs Massou s Three Centuries of English Poetry ; Retrospective lUview for 1828, where Sir Harris Nicolas throws fresh light on the subject ; Observations on the Language of Chaucer s Canter bury Tales, and Gower s Confessio Amanti*, by F. J. Child; Minto s Characteristics of English Poets ; and, above all, Dr Rein- hold Fanli s scholarly edition of the Confessio Amantis (London, 1857), which contains a notice of Gower, and an account of the MSS. and editions of the poem.
GOYA, a town of the Argentine Republic, in the province of Corrientes, near the junction of a small stream with the Parana, about 100 miles S. of Corrientes. The streets are about 60 feet wide, and the houses, built of brick, are often two stories high. One side of the handsome plaza is occu pied by a large church erected by local subscription, aud in the centre there is a pyramid 50 feet high. Hides, wool, cheese, and oranges are the principal articles of trade, the cheese especially finding a good market at Buenos Ayres and elsewhere. The town was founded in 1807 by the national Government, and is said to have derived its name from Goya or Gregoria, the wife of the Portuguese cattle- farmer who was formerly settled on the spot. The popu lation, which includes a large foreign element, Italians, Basques, and French, amounted to 10,907 in 1869. See MulhaH s Handbook of the River Plate.
GOYANNA, a city of Brazil, in the province of Pernam- buco, on a river of its own name, about 10 miles from the sea. It is a well-built place, and carries on a trade in cotton, sugar, rum, hides, timber, dye-stuffs, oils, and other pro ducts of the fertile region in which it lies. Most of its exports are sent to Recife for shipmont, its own port being only deep enough for the larger class of coasting vessels. The population is about 12,000.
GOYA Y LUCIENTES, Francisco (1746-1829), Spanish painter, was born in 1746 at Fuendetodos, a small Aragonese village near Saragossa. At an early age he com menced his artistic career under the direction of Jos6 Luzan Martinez, who had studied painting at Naples under Mastroleo. It is clear that the accuracy in drajving Luzan is said to have acquired by diligent study of the best Italian masters did not much influence his erratic pupil. Goya, a true son of his province, was bold, capricious, head strong, and obstinate. He took a prominent part on more than one occasion in those rival religious processions at Sarag03sa which often ended in unseemly frays; and his friends were led in consequence to despatch him in his nineteenth year to Madrid, where, prior to his departure for Rome, his mode of life appears to have been anything but that of a quiet orderly citizen. Being a good musician, and gifted with a voice, he sallied forth nightly, serenading the caged beauties of the capital, with whom he seems to have been a very general favourite. Lacking the necessary royal patronage, and probably scandalizing by his mode of life the sedate court officials,, he did not receive perhaps did not seek the usual honorarium accorded to those students who visited Rome for the purpose of study. Finding it convenient to retire for a time from Madrid, he decided to visit Rome at his. own cost ; and being without resources he joined a " quacl- rilla " of bull-fighters, passing from town to town until he reached the shores of the Mediterranean. We next hear of him reaching Rome, broken in health and financi ally bankrupt. In 1772 he was awarded the second prize in a competition initiated by the academy of Parma, styling himself " pupil to Bayeu, painter to the king of Spain." Compelled to quit Rome somewhat suddenly, he appears again in Madrid in 1775, the husband of Bayeu s daughter, and father of a son. About this time he appears to have visited his parents at Fuendetodos, no doubt noting much which later on he utilized in his genre works. On return ing to Madrid he commenced painting canvasses for the tapestry factory of Santa Barbara, in which the king took much interest. Between 1776 and 1780 he appears to have supplied thirty examples, receiving about i!200 for them. Soon after the revolution of 1868, an official was appointed to take an inventory of all works of art belong ing to the nation, and in one of the cellars of the Madrid palace were discovered forty-three of these works of Goya on rolls forgotten and neglected (see Los Tapices de Goya; por Cruzado Villaamil, Madrid, 1870). His originality and talent were soon recognized by Mengs, the king s painter, and royal favour naturally followed. His career now becomes intimately connected with the court life of his time. He was commissioned by the king to design a series of frescos for the church of St Anthony of Florida, Madrid, and he also produced works for Sara gossa, Valencia, and Toledo. Ecclesiastical art was not his forte, and although he cannot be said to have failed in any of his work, his fame was not enhanced by his religious subjects. In portraiture, without doubt, Goya excelled : his por traits are evidently life-like and unexaggerated, and lie- disdained flattery. He worked rapidly, and during his- long stay at Madrid painted, amongst many others, the portraits of four sovereigns of Spain Charles III. and IV., Ferdinand VII., and (i King Joseph." The duke of Wellington also sat to him ; but on his making some remark which raised the artist s choler, Goya seized a plaster cast and hurled it at the head of the duke. There are extant two pencil sketches of Wellington, one in the British Museum, the other in a private collection. One of his best portraits is that of the lovely Andalusian duchess of Alva. He now became the spoiled child of fortune, and acquired, at any rate externally, much of the polish of court manners. He still worked industriously upon his own lines, and, while there is a stiffness almost ungainly in the pose of some of his portraits, the stern individuality is always preserved. Including the designs for tapestry, Goya s genre works are numerous and varied, both in style and feeling, from his Watteau-like Al Fresco Breakfast, Romeria de San Isidro, to the Curate feeding the Devil s Lamp, the Meson del Gallo, and the painfully realistic massacre of the Dos de- Mayo (1808). Goya. s versatility is proverbial; in his hands the pencil, brush, and graver are equally powerful. Some of his crayon sketches of scenes in the bull ring are full of force and character, slight but full of meaning. He was in his thirty-second year when he commenced his etchings from Velasquez, whose influence may, however,
be traced in his work at an earlier date. A careful ex-
