an apprentice to Ambrose Beyland, a noted master of music, and became afterwards a musician belonging to the playhouse, one of the cornets in the king's chapel, one of the violins to King Charles II., and a composer of lessons for the king's playhouse." He published "Ayres and Dialogues to be sung to the Theorbo-lute or Bass Viol," in 1657; and a second book in 1659. The first is dedicated "to the worthy of all honour, Thomas Stanley, Esq.;" and the second to "Charles Cavendish, Viscount Mansfield." Prefixed to these publications are several copies of verses by Richard Lovelace, Alexander Broome, John Tatham, Thomas Jordan, &c.—E. F. R.
GAMBOLD, John, the son of a pious clergyman, was born April 10, 1711, at Puncheston in Pembrokeshire. He was religiously educated, and sent to the university of Oxford in 1726. For a time he yielded to the influence of the light literature of the day and the seductions of worldly society; but in 1728 the death of his excellent father was the means of his spiritual recovery. In 1730 he united with the small body of students (among whom were Wesley and Whitfield) who were distinguished by their strict and unblamable lives and benevolent activities. Southey describes him as "one of the first methodists in Oxford," and calls him "a humble and heavenly-minded man." The writings of the mystics, to which he was much attached, tended to wean him from the more popular theology of his methodist associates, and he does not appear to have sympathized at any time with their energetic and erratic movements upon the masses of the ignorant population of our country. In 1733 he took orders, and received the living of Stanton Harcourt; but becoming acquainted with what appeared to him "a more excellent way" in the Moravian church, he resigned his connection with the establishment in 1742. To this step he was no doubt influenced by his friendship with Peter Böhler and Count Zinzendorff, and by his theological bias received from his favourite writers. In 1754 he was chosen a bishop of the Church of the United Brethren, and died at Haverford West, September 13, 1771. His writings consist of poems, sermons, and smaller theological pieces, which have been published in one volume 12mo; the best edition from the Glasgow press, with an essay by Erskine, 1822. He was also the editor and translator of Crantz' History of Greenland, 2 vols. 8vo, 1767.—W. B. B.
GANDINI, Giorgio, the favourite scholar and assistant of Correggio, was a native of Panna: he is called also Del Grano. He seems to have been held in such estimation by his fellow-townsmen that he was intrusted with the completion of the vast unfinished frescoes of the cathedral of Parma. In 1535 Gandini contracted to paint the choir and its tribune; but owing to his death, which happened in the spring of 1538, he only partly carried out this scheme. The great altarpiece of San Michele at Parma, now in the gallery of the academy, is attributed to Gandini, and resembles much the style of Corregio, who is said to have touched up Gandini's works.—(Affo, Il Parmigiano Sérvitor di Piazza; Pungileoni, Memorie istoriche, &c.)—R. N. W.
GANDOLFI, Gaetano, Italian painter and engraver, was born at San Matteo della Decima in the Bolognese, August 30, 1734. He was successively the pupil of his elder brother Ubaldo, of Torelli, and of Graziani; and he studied the works of the great colourists at Venice. Gandolfi was during his life regarded as the chief of the modern painters at Bologna; and at his death his fellow-citizens honoured him with a public funeral, which was compared to that of Agostini Caracci, as described by Malvasia. Gandolfi, like the great majority of recent Italian painters, aimed at nothing more than close imitation of the manner of the great masters of the sixteenth and seventeenth centuries. Yet he had enthusiasm, fancy, skill of hand, fertility of composition, a good eye for colour, and great industry—qualities which with moderate self-reliance, and direct and independent study of nature, might have raised him to the rank of an original painter. His more important works are—an "Assumption," in the ceiling of S. Maria della Vita; "The Marriage at Cana," in the refectory of San Salvatore; and one or two in other churches of Bologna; "The Martyrdom of S. Pantaleone," in the church of the Girolimini, Naples; and the "Foundation of the Hospital for Orphans," in the cathedral at Pisa. His engravings are exceedingly graceful; perhaps the best are a charming etching of the "Adoration of the Shepherds," after Nicolo dell' Abati, and "Saints Peter and Paul" after Guido. Gandolfi painted in fresco as well as in oil, and was in great request as a painter of arabesques and other internal decorations. He died suddenly June 30th, 1802.—Gandolfi's brother, Ubaldo (born 1728, died 1781), was also a painter of reputation, but much inferior to his brother. Many of his pictures are in the churches of Bologna.—Mauro Gandolfi, the son of Gaetano (died 1834), was like his father both painter and engraver; but, unlike him, achieved the highest reputation with his burin. He hardly stands, however, in the foremost rank of modern engravers.—J. T—e.
GANDON, James, architect, born in 1742, was a pupil of Sir William Chambers, and the first architectural student who gained the gold medal after the foundation of the Royal Academy. His first building of any importance was the court hall at Nottingham, the design for which is engraved in the fifth volume of the "Vitruvius Britannicus," of which work the fourth and fifth volumes (in continuation of the three volumes by Campbell) were published by Gandon in 1767-71. It was however in Dublin that Gandon acquired his high professional reputation. He had competed unsuccessfully for the Dublin royal exchange; but his design attracted the notice of influential persons, and he was shortly after commissioned to design a much more important building, the custom-house of Dublin. This noble structure, of its kind the finest in Europe, is imposing alike from its size and architectural character. It is a quadrangle 375 feet long by 200 deep, and has four richly-decorated fronts, with Doric porticoes, surmounted with statues and a lofty cupola. It was begun in 1781, and completed in 1791, and secured him other commissions of little inferior importance in the same city. One of these was the fine east front and Corinthian portico of the House of Lords, now the Bank of Ireland; another the completion of the Four Courts, commenced by Cooley, but of which Gandon greatly altered the design; another the spacious structure known as the King's Inns. These are certainly among the very finest buildings erected in the kingdom at that period: stately and substantial, yet rich and picturesque, they stamp their author as a man of true genius. Gandon also erected the courthouse, Waterford, and various other buildings in Ireland. He died at Cannonbrook, near Lucan, Ireland, in 1824.—J. T—e.
GANDY, James, born in 1619; died in 1689. He was one of the English scholars of Vandyck, who imitated not unsuccessfully that master's style of portrait-painting. Whether, as has been asserted, he received instruction from Vandyck, or only formed his style on a diligent study of his works, is not certain; but his portraits have much of the dignified bearing as well as the colour and manner of those of his master. He settled in Ireland, under the patronage of the duke of Ormond, and painted a large number of the nobility and gentry of that country.—J. T—e.
GANGANELLI. See Clement XIV.
GANILH, Charles, a French politician, member of the legislature from the time of the Revolution, and author of some works on political economy, was born at Allanche, Cantal, 6th January, 1758, and died near Paris in 1836. Previous to the Revolution he was an avocat, and on the eventful day of the attack on the Bastile, a member of the Parisian committee of public safety—in which capacity, a few hours before its occurrence, he had been deputed to invoke the aid of the national assembly, then sitting at Versailles, in preventing a popular tumult. In the legislative chamber Ganilh was a ready speaker, especially on topics of finance. His works are more valuable for clear exposition of well-established principles than for original investigation of any branch of political economy.—J. S., G.
GANNAL, Jean Nicolas, celebrated for his method of embalming bodies, was born at Saar-Louis, 28th July, 1791. He practised as a druggist in the French military hospitals at Metz, Hamburg, Lübeck, and other places, and accompanied the French army in the Russian campaign. In the retreat of the French in 1812, he was made a prisoner of war by the Russians. He succeeded eventually in making his escape, and after various adventures, arrived at Dresden, where he became adjutant to General Vandamme, but shortly afterwards he was again taken prisoner. On his return to Paris, he obtained a place in the laboratory of the école polytechnique as assistant (préparateur adjoint), and afterwards became assistant to Thénard. In 1818 he undertook the superintendence of a calico-printing manufactory, and in 1821 of a blacking and ink manufactory. Gannal now occupied himself with a new method of embalming bodies, of which he was the inventor. It consisted in injecting the veins and arteries with a solution of alum, which thus penetrated all parts of the body and prevented putrefaction; the head
