Mr. Gallaudet died in 1851, and the deaf mutes of America erected a monument to his memory at Hartford, the designer and architect being both deaf and dumb persons.—R. M.
GALLE, the name of a family of distinguished line-engravers and print-sellers at Antwerp. Philipp, the first of the line, born at Haarlem in 1537; died at Antwerp in 1612; engraved in a stiff, dry manner, but showed a clear appreciation of the original from which he worked. His plates are very numerous. Among them is a series of portraits of eminent men of the sixteenth century, which has an additional interest, as containing likenesses of Luther, Calvin, Zwingli, and other leaders in the Reformation.—Theodore, his eldest son, born at Antwerp in 1560, improved his style by studying some time at Rome. From his burin we have engravings from some of the best Flemish masters of his day, as well as from the antique. Theodore Galle executed fewer works than his father, but they are in a more finished manner.—Cornelius, the elder, a younger son of Philipp Galle, born in 1570. Like his brother, after learning engraving from his father, he resided for some years at Rome. Cornelius Galle was by far the best engraver of the family. His line is firm, clear, and flowing without being coarse; his drawing good, and his management of light and shadow pleasing. Besides some capital portraits after Rubens and Vandyck, he executed many plates from Italian as well as Flemish painters.—Cornelius, the younger, son of Cornelius Galle, the elder, born in 1600, though an engraver of merit, was far inferior to his father. His portraits are his best works, but he also engraved various religious and other subjects from Rubens, Vandyck, and other Flemish painters. Lists of the works of the members of the family will be found in Nagler and Bryan.—J. T—e.
GALLE, Servatius, a Dutch antiquary, was born at Rotterdam in 1627, and died at Campen in 1709, after having held for a number of years a protestant curé at Haarlem. Among his writings deserve to be noticed—"Dissertationes de Sibyllis earumque oraculis;" "Σιβυλλικοι χρησιμοι, h.e. Sibyllina Oracula;" and his valuable edition of Lactantius.—K. E.
GALLEGO, Juan Nicasio, a distinguished Spanish man of letters, belonging to the old or classical school, was born at Zamora at the end of 1777; ordained priest in 1800, and in 1805 appointed a chaplain at court, which office he held until the entry of the French into Madrid in 1808. Among his early poetical efforts are odes on the defence of Buenos Ayres, 1807, and to the Second of May, 1808, to the latter of which poems he owed his first popularity. In the same year he delivered before the Academy of San Fernando, an ode "On the Influence of Public Enthusiasm on the Arts," and also published somewhat later an ode to the duke of Wellington. Gallego, on the second entry of the French, took refuge at Cadiz, and was a prominent member of the cortes which met there. On the restoration of 1814 he was one of the victims of the persecution against the members of that assembly, and suffered eighteen months' imprisonment and four years' seclusion in the convent of Jerez. The only literary fruits of his solitude were two elegies—on the "Death of Queen Isabella," and on the "Death of the Duke of Fernandina"—which appeared at Madrid in 1819. The revolution of 1820 restored him to liberty, and he obtained the archdeaconry of the cathedral of Valencia, but lost it on the re-establishment of absolutist government. He was obliged then to flee to Barcelona, and afterwards to France. Subsequently he returned to Seville, where he obtained a modest appointment; and in 1833 he settled in Madrid, but took no part in politics. He became, however, the secretary of the Royal Academy. Besides the works above-named, he is the author of "El Pelayo," a classical tragedy, and also of the "Pantéon del Escorial," in which, deserting the model that he had adopted in the earlier part of his literary career,, he seems to have travelled beyond the limits of that classical style of which he was so vigorous an advocate. At what period his death occurred we have not succeeded in ascertaining.—F. M. W.
GALLEGOS, Ferdinando, one of the most distinguished of the early Spanish painters, was born in the latter half of the fifteenth century. According to most accounts he learned painting from Albert Dürer; but Cean Bermudez (Diccionario de los profesores), whilst admitting the resemblance of his works to those of the great German master, thinks it more probable that he was a pupil of Pedro Berruguete of Castile. Crowe and Cavalcaselle, however (Early Flemish Painters, p. 328), say that his manner is rather that of Vander Weyden and Memling. It is at least certain that his manner is wholly Flemish, and from the connection of Spain with the Netherlands, and the peculiarity of his style, it is most likely that he acquired his art from a Fleming. The chief extant picture by Gallegos, is one in the chapel of San Clemente, in the cathedral of Salamanca; it represents the Virgin with the infant Saviour on her knee, who is offering a rose to St. John, whilst St. Andrew and St. Christopher are standing by. In another chapel of the same cathedral is a "Beheading of St. John," by Gallegos; but Ford (Handbook of Spain) says they have both been "scandalously neglected." Genuine works by him are very rare. Count Raczynski (Art in Portugal) says, that there are in Portugal many of the paintings of Gallegos; but it may be doubted whether those he saw were not wrongly ascribed. In his later manner, Gallegos imitated Raffaelle; and Mr. Stirling observes that "some of his designs appear to have been borrowed from prints by Marc Antonio." He died at Salamanca about 1550. Stirling says after 1551.—J. T—e.
GALLEGOS. See Galhegos, Manoel de.
GALLETTI, Johann Georg August, a German historian, born at Altenburg in 1750. He studied at Göttingen; and after filling the office of private tutor in a noble family, he was appointed professor of classical literature, and of history and geography in the gymnasium of Gotha. He was elevated to the rank of privy councillor in 1816, and was made historiographer to the duchy of Gotha. Three years afterwards he retired from active life, but was allowed to retain all his titles and emoluments. He died in 1828. His works are all of a historical character. Amongst them are histories of the Duchy of Gotha, of Thuringia, and of Germany, a "General History of Civilization in the last Three Centuries," and a "History of the States and People of the Ancient World."—R. D. B.
GALLI DA BIBIENA, a Bolognese family of artists of great distinction in the early part of the eighteenth century. Giovanni Maria Galli, an eminent painter, was born at Bibiena in 1625, and studied painting with Albani at Bologna; he died in 1665, leaving two sons, who both distinguished themselves.—Francesco, the younger, was born at Bologna in 1659, and learned painting under Lorenzo Pasinelli and Carlo Cignani. He was an architect and scene painter, and also a good figure painter, but was chiefly distinguished in the first capacity, being much employed at Naples, Vienna, Mantua, Verona (where he built the celebrated theatre), Rome, and Genoa. He was professor in the Academia Clementina of Bologna, and died there in 1739.—Ferdinando Galli da Bibiena, the elder son of Giovanni Maria, was born at Bologna in 1657, and was educated as a painter in the school of Cignani; but he also worked as an architect. He was employed in both capacities in Barcelona, in Vienna, and in Parma, where he was court architect. His ability for architectural painting was also very great. He was the most celebrated scene painter of his time. In 1711 he published some literary works at Parma, particularly "Trattati d'Architettura e di Prospetiva;" and others at Bologna. He eventually became blind, and died at Bologna in 1743.—Giuseppe, the son of Ferdinando, was born at Parma in 1696; he was also a distinguished scene painter, &c., and much employed in Germany. He died in Berlin in 1757.—Antonio, another son of Ferdinando, was born at Parma in 1700, and was also scene painter and architect; and worked much in Vienna and in Hungary. He designed and built the theatre of Bologna in 1763. He died at Milan in 1774.—(Crespi, Felsina Pittrice; Bianconi, Guida di Bologna, 1820.)—R. N. W.
GALLIARD or GAILLIARD, Johann Ernst, a musician, was the son of a perukemaker, and a native of Zell. He was born about the year 1687, and was instructed in composition, first by Marichal, and afterwards by Farinelli, the director of the concerts at Hanover; likewise by Steffani, who also resided at that place. After finishing his studies, he was taken into the service of George, prince of Denmark, who appointed him a member of his chamber choir. On the marriage of that prince Galliard came to England, where he seems to have studied our language with considerable diligence and success; and on the death of Draghi he obtained the situation (then become a sinecure) of chapel-master to the Queen-dowager Catherine, relict of Charles II. Galliard was a successful composer for the stage, and produced at different times, "Calypso and Telemachus," 1712; "Pan and Syrinx," 1717; "Jupiter and Europa;" "The Necromancer, or Harlequin Faustus;" "The Loves of
