uneasiness. Reynolds, Romney, Barry, West, Barret, and Wilson were the great painters, when Gainsborough came to the metropolis. He took a portion of the duke of Schomberg's house in Pall Mall, for which he paid three hundred pounds a year; and his career and reputation from this period were perhaps wholly unequalled. He was considered at the same time the rival of Sir Joshua Reynolds in portrait, and of Richard Wilson in landscape: the king and queen both sat to him. To the exhibition of 1777 he sent seven pictures, of which one was a large landscape, and of this Horace Walpole wrote in his catalogue, "In the style of Rubens, and by far the finest landscape ever painted in England, and equal to the great masters." In 1780, when the Royal Academy first used the rooms at Somerset house, Gainsborough sent sixteen pictures to the exhibition, mostly portraits, but with more than his usual proportion of landscapes. It was about this time that he painted his celebrated picture of the "Blue Boy," which was exhibited at Manchester in 1857; and he is said to have painted him to show that Sir Joshua Reynolds was incorrect in asserting that the masses of light in a picture should be always warm, and that blue should be kept out of such masses. He painted the son of a Mr. Buttall entirely in blue, to show that an agreeable effect might be produced even by a mass of blue; and by the skill with which he managed his light and shade and reflexes he certainly succeeded. It does not appear to have been exhibited at the Royal Academy, which, under the circumstances, is remarkable, unless withheld out of respect to Sir Joshua. In the autumn of 1783 Gainsborough made the tour of the Lakes with a view of devoting much more of his time for the future to landscape painting, but he sent no more pictures to the academy—the hanging committee had refused to hang a certain picture at a particular height required by the painter. This is to be regretted for various reasons. Many of Gainsborough's finest pictures were painted after this time, though he lived but a few years longer. He caught cold at Warren Hastings' trial, and died in London, August 2nd, 1787, and was buried in Kew churchyard. Shortly after his death Sir Joshua Reynolds read a discourse to the students on the merits of Gainsborough, in which he alluded to his method of hatching in the execution of his pictures, which, he says, "under the appearance of chance and hasty negligence" produced the "full effect of diligence." He also observes, "Whether he most excelled in portraits, landscapes, or fancy pictures, it is difficult to determine." Among Gainsborough's most popular pictures are—the "Hon. Mrs. Graham," now in the Edinburgh gallery; the "Shepherd boy in the shower;" the "Cottage door;" the "Cottage girl with dog and pitcher;" the "Shepherd boys with their dogs fighting;" and the "Woodman and his dog in the storm," burnt at Eton Park, and now known only by Simon's print, or Miss Lynwood's needlework copy of it. Gainsborough is said never to have signed his pictures; he died in possession of fifty-six of his pictures and a hundred and forty-eight drawings, which were exhibited at his house in March, 1789. Many were sold on this occasion, and the remainder at Christie's, June 2nd, 1792. Gainsborough's daughter, Mary, was married to John Christian Fischer the musician. The National Gallery possesses six pictures by Gainsborough—Musidora, a sketch life-size; a small picture of rustic children; and four landscapes.—(See Edwards, Allan Cunningham, and Fulcher's Life of Thomas Gainsborough, R.A., 12mo, London, 1856.)—R. N. W.
GAISFORD, Thomas, one of the most distinguished British scholars of the present age, was born at his father's seat of Iford in Wiltshire, in the year 1779. After passing some years at the Hyde Abbey school, Winchester, conducted by the Rev. Mr. Richards, he entered at Christ Church in 1797, and in December, 1800, obtained a studentship, on the recommendation of the then dean, the celebrated Cyril Jackson. After taking his degree, he remarried in residence for some years as college tutor. In 1810 he published his first work, an edition of the Enchiridion of Hephæstion. In 1811 he was appointed regius professor of Greek. In 1815 he was presented by his college to the living of Westwell in Oxfordshire, which he retained till 1847. He stood high in the favour of more than one church dignitary, being collated by Archbishop Howley in 1833 to a prebend in St. Paul's, and by Bishop Van Mildert to stalls at Llandaff and Durham successively. In 1831 he exchanged his stall at Durham with Dr. Samuel Smith for the deanery of Christ Church. This latter dignity he enjoyed for twenty-four years, till his death in 1855. The sturdy and original figure of the dean of Christ Church, will long be remembered by Oxford men. There was something characteristic even in the dogged, determined manner in which he paced up the aisle in the procession of the "dons" at university sermon, at which he was a most punctual attendant. Though really kindhearted at bottom, he was abrupt even to harshness in his usual address, and hence was no great favourite with his undergraduates. In 1843 he sustained a terrible shock from the drowning in Sandford lasher of his third son, then a student of Christ Church. He was on terms of intimacy with some of the great continental scholars, particularly Wyttenbach. He may be truly said to have died in harness, having fallen ill after four days passed in college examinations at the end of May, and expired after an illness of three days, on the 2nd June, 1855. He was twice married—first to Miss H. Douglas, afterwards to Miss Jenkyns, sister of the master of Balliol. The principal among his published works are—"Poetæ Græci Minores," 1814; an edition of Aristotle's Rhetoric, 1820; "Herodotus, cum notis variorum," 1824; and the "Ecclesiastical History of Theodoret," 1854.—(Gentleman's Magazine, new series, vol. 44.)—T. A.
GAIUS or CAIUS: The dates of Gaius' birth and death have not been recorded, nor is his country known. It is inferred that he was a Greek from the very slight ground that Justinian calls him Gaius "noster," an epithet equally susceptible of other interpretations. He appears to have lived in the latter half of the second century of our era. The works of Gaius were very numerous; they were given the authority of law by the Emperors Theodosius and Valentinian, and they were made the subject of public lectures in the schools of law. Many passages from them are found in Justinian's great compilations, and the Institutes of Justinian are in truth but a new edition of Gaius' "Commentaries," incorporating with the statements of the original such changes of the law as had been made in the interval since their publication. An epitome of Gaius' "Commentaries" was drawn up about the year 504, was printed at Louvain in 1570, and was often afterwards edited by eminent jurists. A copy of the original work was found at Verona in 1816, and published in 1821. The history of the discovery is curious. In the library of the chaplain of Verona there is a palimpsest. The Epistles of St. Jerome were written on parchment which had been before used. It was ascertained that the first writing contained portions of what seemed to be a law tract. This had caught the attention of Maffei, who printed in his "Verona Illustrata" in 1732, and in another work in 1742, extracts from the manuscript with a facsimile. He noticed that the language of a passage which he printed was almost identical with one in Justinian's Institutes. Maffei supposed that the passage was an extract from some old commentator on Justinian. Haubold, it would appear, was the first, or among the first, to suspect that it might be from Gaius' work, and was about publishing his conjecture when Niebuhr, on his way to Rome on an embassy to the Prussian government, examined the manuscript from which the passage was taken; satisfied himself that the manuscript was no other than the original work of Gaius; and communicated the discovery to Savigny, who published the fact to Europe. In 1817 Göschen and Bekker were sent by the Prussian government to decipher and transcribe the manuscript. Göschen published it in 1820. A second edition, after further examination of the manuscript, was published in 1824; and in 1842 Lachmann's edition appeared. It is scarcely possible to describe the impetus that this discovery gave to the study of jurisprudence in Germany. Of some portions of the Roman system little was known with entire certainty till its appearance. On the law of actions and on interdicts it has thrown unexpected light. We find Haubold also claiming for it the more doubtful merit of fixing the meaning of a few passages in the classical authors.—J. A., D.
* GAJ, Ljudvit, a Croatian journalist, born at Krapina in 1810. His education commenced in his native city, and was completed in the universities of Germany. After obtaining the degree of doctor of laws at Leipsic, he returned to his own country when the revolution of July, 1830, had broken out in Paris; and when Poland and the Slavonian provinces were entering upon a new struggle for independence. Determined to contribute to the success of the national cause, Gaj, in 1835, established the Croatian Gazette, written in the idiom of the country. But, as its power was intended to extend beyond the Slavonian provinces, he soon saw the prudence of changing the title of his journal to that of the Illyrian National Gazette, and its
