arium Theodoreti Cyrensis Episcopi, seu Operum Tomus Quintus," in folio, with notes and critical dissertations. He also published, in 1678, "Systema Bibliothecæ Collegii Parisiensis Societatis Jesu," in 4to. which is much commended for the excellence of its arrangement, by means of which it will be found useful to persons engaged in placing large libraries in proper order. Moreri. Nouv. Dict. Hist.-M. GARNIER, JULIAN, a learned French benedictine monk, of the congregation of St. Maur, was born at Connerai, in the diocese of Mans, about the year 1670. He took the vows when he was about twenty years of age, and acquired much applause by his proficiency in the different branches of academic learning, particularly in an acquaintance with the Greek language. At the same time he conciliated universal esteem by the sweetness of his temper, and his agreeable pleasing manners. His superiors called him to Paris in the year 1699, and two years afterwards confided to him the task of preparing for publication a new edition of the works of St. Basil. To this undertaking he applied with becoming diligence, and in the year 1721 produced the first volume, in folio, with a new translation, numerous learned notes, and a very excellent preface, abounding in judicious criticism, and exhibiting an able discrimination of the genuine from the supposititious writings attributed to that father. The second volume made its appearance in 1723, when Garnier's state of health received a severe shock from the attack of a dangerous illness. His anxiety, however, to complete the work, engaged him to devote his remaining strength to that object; but he had scarcely retouched half of a translation that he had made of the letters which form a considerable part of the third volume, before his powers entirely failed, and he was obliged to abandon his undertaking. He died in the year 1725, when about fifty-five years of age. The care of finishing this volume was entrusted to father Maran, who was also the author of the Preface, the Life of St. Basil, and the Notes. It was published in the year 1730. This edition of the works of St. Basil is one of the best editions of the fathers which have proceeded from the labours of the congregation of St. Maur. Moreri. Nouv. Dict. Hist.-M. GARNIER, ROBERT, an early French poet, was born in 1545, at La Ferté Bernard in Maine. He was brought up to the law, and was first a counsellor, and then lieutenant-criminal in the presidency of Mans. In advanced years, Henry IV. created him a counsellor in his grand council. He died at Mans in 1601. He was attached to poetry in his youth, and while stu dying at Toulouse obtained a prize in the Floral games of that city.. Afterwards, the perusal of Seneca the tragedian gave him a taste for dramatic composition, and at his second attempt he became the rival in fame of Jodelle, who was the father of French tragedy. The pieces of Garnier, as well as those of his precursor, were rude and of little intrinsic merit; yet his nine tragedies for a considerable time were the delight of the stage, and he deserves a place among the creators of the French theatre, He also wrote "L'Hymne de la Monarchie," and other poems. Moreri. Nouv. Dict. Hist.—Á. GAROFALO, BENVENUTO, a painter, was born at Ferrara, in 1481. He studied under various masters, and at length fixed his taste in the Roman school, where he had the good fortune to obtain the friendship and instruction of Raphael. Returning to Ferrara, he was patronised by the duke, and was employed in several considerable works, in which he displayed much excellence both in design and colouring, and nearly approached to the manner of Raphael himself. Some of his finest pieces are the Resurrection of Lazarus, and the Murder of the Innocents, in the church of St. Francis at Ferrara, and the Adoration of the Magi in the chapel of St. George, near that city. He also painted landscape in a capital style. He copied some of the pictures of Raphael with great exactness. Garofalo had the misfortune to lose his sight in his sixty-ninth year; he died at Ferrara in 1559. Nouv. Dict. Hist. Pilkington's Dict.-A. GARRICK, DAVID, the most eminent actor that the English stage has produced, was born at Hereford in 1716. His grandfather was a refugee from France, on account of religion, at the revocation of the edict of Nantes. His father was a captain in the army, and usually resided at Lichfield, where he had married the daughter of one of the vicars of the cathedral. David received his first school education at the grammar-school of Lichfield. He was more distinguished by his sprightliness than his application to literature; and he gave a very early proof of his passion for the drama, by engag ing his young companions to act the Recruiting Officer, in which play he himself took the part of Serjeant Kite. At this time he was little more than eleven years of age, and the applause he obtained probably made a durable impression upon his mind. As the circumstances of his father were narrow, it was thought proper to send him to Lisbon upon the invitation of an uncle, who was a considerable wine-merchant in that capital. From some cause, however, his stay there was very short; he returned to Lichfield, and again went to school, but the volatility of his temper impeded his proficiency. In order to accelerate his improvement, he was, in his nineteenth year, placed with the celebrated Samuel Johnson, who had then undertaken to instruct a few youths in the belles-lettres at his native city of Lichfield; but love for the stage had taken such firm possession of the mind of young Garrick, that it left little room for classical studies, and he was writing scenes in comedies of his own invention when he should have been composing exercises. He must have been able, however, by his manners and talents, to ingratjate himself with his grave tutor; for when Johnson, tired of his situation, determined to try his fortune in London, he joined company with his pupil Garrick. This era in the lives of these two distinguished persons was the year 173. Garrick, by the recommendation of his father's friend, Mr. Gilb. Walmesley, was sent to reside with the rev. Mr. Colson, an eminent mathematician at Rochester, with the intention of furnishing him with general knowledge previous to his entering at the Temple. Though he became no great mathematician or philosopher, under the tuition of this person, he improved in the use of his reasoning powers, and fitted himself for the business of the world. His father died about this time, leaving a large family unprovided; and his mother soon followed. His Lisbon uncle, who died some time before, had bequeathed him a thousand pounds, and with this sum he entered into partnership in the wine trade with his brother Peter. The very different disposition of the two brothers soon caused a dissolution of this connection, and David thenceforth resolved to follow his favourite plan of becoming an actor by profession. He courted the company of stage heroes, obtained introductions to the managers, and tried his powers in recitation. At length he began his campaign in the summer of 1741, at Ipswich, with Giffard's company. Under the assumed name of Lyddal he played a variety of parts with uniform success; and Ipswich has the honour of first having witnessed and recognised the powers of our greatest actor. At this period the stages of the metropolis were but indifferently supplied with performers in the higher walks of the drama, and there was a manifest interruption in the succession from the preceding generation. Though Gar rick would have distinguished himself at any time, the present interval was particularly favourable to a sudden and decided eclat. Besides the two principal theatres of Drury-Lane and Covent-Garden, there was then a house open in Goodman's-fields, of which Giffard was manager. At this our young actor made his first entrance in the metropolis, on October 19, 1741. He judiciously chose the part of Richard III. as one which would not require a dignity of person that he did not possess; while it would give scope to all those strong markings of character and quick changes of passion in which his principal excellence ever consisted. Though his natural mode of recitation was a novelty in tragedy to a London audience, accustomed to the artificial tones of declamation, yet it was a novelty which, by favouring expressions, produced its intended effect, and never was an audience betrayed into more hearty and unfeigned applause. The part was repeated for several successive nights, and was followed by others both in tragedy and comedy; and such was the blaze of fame attending the new actor, that the established theatres were deserted, and strings of carriages from the polite part of the town thronged the streets of the city. Nor was this the mere rage of fashion. The best judges joined their approbation to the public applause; and Pope, who was induced to see him, pronounced his eulogy by saying "that he was afraid the young man would be spoiled, for he would have no competitor." It is not within the plan and compass of this work to detail the history of the stage, or to enter minutely into that of its performers; and even a Garrick can claim no more of our notice than a sketch of the principal events of his life, and a view of his characteristic qualities. He was still at Goodman's-fields when he appeared as a dramatic writer in two pieces, "The Lying Valet," and "Lethe;" the first broad farce, the second a kind of interlude or dramatic satire. Both were well received, and still keep possession of the stage. The proprie tors of the old theatres, alarmed at his success, threatened the manager of Goodman's-fields with a prosecution, and Fleetwood drew away Garrick to Drury-lane. After finishing the winter season of 1742 there, he went over to Dublin in the summer, where he was received with an admiration bordering upon extravagance. He so crowded the theatre, in a hot season, that an epidemic disease, which broke out in that capital, was called the Garrick-fever. After his return he took up some parts of a kind entirely new to him, among the rest, that half century of literature, may be traced from the appearance of Garrick in his principal characters. In 1749 he married mademoiselle Violetti, who had been a stage dancer; she maintained an irreproachable character, and the union was a source of mutual felicity till dissolved by death. Though Garrick was justly a favourite with the public, some complaints were made of parsimony under his management, in providing those ornamental decorations and splendid shows which are found necessary to keep the eye satisfied as well as the judgment. To obviate this discontent, he prepared, in 1754, an exhibition which was to unite every charm of music, dancing, and scenery, with that of perfect novelty in design. No expence was spared on the occasion; and a large body of foreign performers was hired, at the head of whom was Noverre, the celebrated ballet-master, whose inventive genius produced a spectacle which he entitled a Chinese Festival. But before its exhibition, the national prejudices, enforced by a commencing war with France, took alarm at this importation of foreigners, all of whom were, as usual, called Frenchmen, and a violent opposition was organised. The piece was brought out in November, 1755, and though first sanctioned by the king's presence, and warmly supported by many of the young nobility, its sixth representation was terminated by a violent riot, by which a damage was incurred to the theatre of some thousand pounds. Garrick was blamed for his pertinacity in contending against the voice of the majority, which was attributed to his reluctance at losing the fruits of great expence. of Abel Drugger, in which he excited great surprise by banishing from one of the most lively and expressive of countenances every vestige of sense, and putting on the stare of absolute stupidity. It is asserted, that by this theatrical degradation he wrought an unlucky cure in a young lady of fortune, who had fallen in love with him under the persons of Chamont and Lothario. No actor, indeed, ever more thoroughly adopted for the time the characters he undertook, and his attention to propriety was uniformly supported by every look and gesture while he continued in the sight of the audience, whether speaking or silent. The part of Hamlet, so full of soul and animation, was that by which he contrasted his Drugger. Stage quarrels and revolutions, and a second visit to Dublin, occupied Garrick during the remainder of the period which he passed as a hired actor, but with continually increasing reputation. He produced in that interval his farce of "Miss in her Teens," the hint of which was taken from Dancourt, but with such accommodation to the English taste as to make it a favourite. In the Spring of 1747 he commenced his respectable and lucrative career as a theatrical manager. By acting at Covent-garden, he had reduced Drury-lane to such a state of inferiority, that Lacy, the patentee, was glad to admit him as an equal partner upon moderate terms. In this joint concern the two managers wisely took distinct provinces: that of Lacy was the care of the scenes and the domestic economy, while Garrick superintended the choice of plays, the distribution of parts, and the treaties with authors and actors. Under these auspices, the theatre of Drury-lane opened in September, 1747, furnished with a In his capacity of manager, he had the same prologue by Garrick's old and constant friend, difficulties to encounter in his transactions with Samuel Johnson, which ranks among the three the "irritable race" of authors that all his preor four compositions of that kind, the merit decessors had, and various squabbles arose on of which is not temporary, but such as will this account, which we shall pass over. It is ever place them in the first ranks of English admitted that his treatment of dramatic writers poetry. It was the prelude of a better era of was more liberal and gentleman-hike than that of dramatic exhibitions; in particular it ushered several former managers; but his opinion and in the revival of a number of Shakespear's theirs could not always coincide, and he might plays, mostly freed from the tasteless and in- occasionally show a sense of his own consecongruous additions which had been made to quence and their insignificance. Moreover, he, them by the writers of the past century. Gar- like many of his brethren of the stage, frerick was himself the living commentator of our quently passed a judgment upon works, which great dramatist. By his admirable force of the event proved to be erroneous; nor was he action, he called forth all the latent beauties of disposed to revoke a sentence once given. On sentiment and transient strokes of feeling of the whole, however, he kept on good terms the author, and gave to the hearer ideas which might ever have escaped the reader. It is certain that the almost idolatrous admiration of Shakespear which has distinguished the last with the most respectable writers, and received from many of them that praise which he dearly loved. This fondness for applause was natur ally accompanied with an equal sensibility to ridicule or censure. The attacks of one of his critics, by their peculiar petulance, drew from him a retort, in a mock-heroic poem, entitled "The Fribbleriad," which possesses considerable vivacity and pleasantry. The persɔn ridiculed took, however, a severe vengeance, by exciting a formidable riot on the subject of admission at half-price, the consequences of which were both detrimental and humiliating. In 1763 Garrick resolved to relax from his cares and fatigues in a tour to the continent. Accompanied by his wife, from whom he was inseparable, he visited several parts of Italy and France, and met with flattering notice from many persons of distinction. At Paris he saw and admired the celebrated mademoiselle Clairon, and these two excellent actors gratified a splendid circle with specimens of their theatric powers with equal and mutual applause. He returned after an absence of a year and a half, and was welcomed with rapture. The prologue spoken by him on his first re-appearance was one of his happiest efforts of the kind, and he was obliged to repeat it ten successive nights. He was thought, if possible, to be improved in his style of acting, as he certainly was in his general knowledge of the drama. In the season of 1766 he brought out the excellent comedy of "The Clandestine Marriage," the joint production of himself and Colman, whose several shares in it are indistinguishably and harmoniously blended. One of the most remarkable events in Garrick's life was the celebration of the Shakespear jubilee. A mulberry tree, planted by that poet at his native town of Stratford-upon-Avon, being cut down, the wood of it was converted into a number of toys and implements, which were eagerly purchased. The corporation of Stratford judiciously caused a box to be made from it, which, with the freedom of the place enclosed, they presented to the great actor,, who had done their poet so much honour.. This incident probably suggested to him the celebration of a festival in commemoration of Shakespear, upon the spot where he was born, and the idea was put in execution in September, 1769. Temporary buildings were raised for the occasion, and various entertainments were planned, some sufficiently appropriate, others too much partaking of the vulgar taste of rural festivities. A splendid company assembled from the capital and different parts of the kingdom, some warmed by literary enthusiasm, more led by mere fashion and the love of novelty. The jubilee lasted three days, in the midst of most unfavourable weather, and, upon the whole, the pleasure seems not to have been adequate to the effort. Garrick, who was the soul of the festival, exerted all his talents to gratify both the eye and the understanding. Besides various songs for music, he composed an ode, of considerable length, to the honour of the great national bard, in which he strained his poetic powers to the height, and with a success deserving at least of temporary applause. As he had expended a large sum in the Stratford pageant, he was careful, with his usual attention to economy, to reimburse himself. The "Jubilee" was made into a theatrical spectacle, which became so popular, that it was represented ninety-two nights to crowded audiences. He also recited his ode at the theatre, but the cars of the public were much sooner satiated than their eyes. After the death of Mr. Lacy, in 1773, the sole management of the theatre devolved on Garrick. His health was at this time beginning to give way, and his period of life was ill adapted to additional labours. He continued, however, some time longer to fulfil the duties of his office; and he rendered an essential service to the profession which he had dignified, by perfecting the plan of an institution for the relief of decayed actors, and bountifully contributing to its fund. At length he determined upon his final retreat, and in January, 1776, he parted with his moiety of the Drury-lane patent for the sum of 35,000l. to such a value: had it risen in his hands! In order to prove that his admirable powers were still unimpaired, he performed, at short intervals, many of his most trying and brilliant parts, just before he took leave of the stage. The last character in which he appeared was Don Felix in the Wonder, for the benefit of the theatrical fund. At the conclusion of the play he made a brief farewel address to the audience, which the genuine feelings of regret on both sides rendered truly pathetic; and few persons ever quitted a public station with more deserved plaudits. He did not long enjoy his opulent and well-earned repose. In the Christmas of 1778, being upon a visit at the seat of lord Spencer, he was siezed with some alarming symptoms, which hastened him to London. A suppression of urine succeeded, under the effects of which he sunk into a state of stupor, and died on January 20, 1779. His remains were interred with great pomp in Westminster abbey, at-tended by many persons of the first distinction in rank and talents. His large fortune, after an ample provision for his widow, was shared among his relations. David Garrick was in character a man of the world, whose vivacity and apparent volatility did not interfere with the steady pursuit of fame and fortune. In this he was guided by great good sence and discretion, and a spirit of order and economy. The latter quality subjected him to the imputation of avarice: but though he was fond of money, and did not lavish it in the careless manner of some of his detractors, yet he was fully capable of using it with liberality. His mode of living was hospitable and generous, and his bounty often flowed in a large stream of munificence. Instead of quoting particular instances upon record, it will be sufficient to repeat what Dr. Johnson (who knew him well) said of him, that he believed David Garrick gave away more money than any man in London." His principal foible was vanity, which made him as inordinately fond of adulation, as he was impatient of censure or ridicule. Goldsmith has strongly marked this feature in his portrait. Of praise a mere glutton, he swallowed what came, This propensity also rendered him culpably jealous of rivals, and he is charged with endeavouring to keep down those rising talents from which he feared competition. In his commerce with the great he was attentive and respectful, yet with freedom enough to make him a delightful companion; and he observed decorum so well, that persons of the gravest and most dignified characters courted his society. As an actor, it seems to be allowed that none ever surpassed him in the truth and nature with which he identified himself with the fictitious object of his representation, so that he seemed, as it were, to have darted his soul successively into all the forms which he assumed. This faculty he displayed equally in the most comic and the most tragic parts, nor was it ever agreed in which of the two his chief excellence lay. Reynolds happily expressed this doubt by his charming picture of Garrick, between the comic and tragic muse, each of whom is contending to possess him. His voice and his eye were calculated for every possible expression of mental feeling. Expression, indeed, was his great strength, and the parts in which he best succeeded were those in which passion most predominated. In the enunciation of calm sentiment, decorated by poetical language, he has had several superiors. His literary talents were respectable, but not of the higher kind. He composed some smart epigrams, many pleasant and well-adapted prologues, entertaining, but rather farcical dramatic pieces, and lively poems of the humorous and familiar class. To sublimity he was inadequate, and his imagination was capable of no lofty flight. Besides those of his works which have been mentioned in his life, there are a few dramatic interludes, and many alterations of old plays, in which he generally displayed a good judgment, and thorough knowledge of dramatic effect. Life of Garrick by Davies. Davies. Ann. Register.-A. GARRIEL, PETER, a French ecclesiastic in the seventeenth century, and author of several works, intended to illustrate the civil and ecclesiastical antiquities of his country, was a native of Montpellier; but we have no information respecting either the time of his birth, or of his death. He became a canon of the cathedral church in that city, and was admitted to the degrees of doctor in civil and canon law. He was the author of the "Origin, Alterations, and present State of the Cathedral Church of St. Peter, at Montpellier," 1631, 12mo. and 1634, 8vo; "A Chronological View of the Governors of the Province of Languedoc, from the Time of the Romans to the present Day," 1645;" and "Series Præsulum Megalonensium & Montispeliensium ab Anno 451 ad Annum 1652," folio; afterwards reprinted in 1665, with enlargements, and a continuation of the history to that date. By some writers, this work is said to be more the production of father Bonnefoy, a Jesuit, than of Garriel, and it is claimed for that father in the Bibliotheque of the writers of the Society of Jesus. Garriel was also the author of a small volume, in folio, entitled "Idée de la Ville de Montpellier, recherchée & presentée aux honnêtes Gens, &c." 1665, which is rendered unpleasant to the reader by the author's tumid style, and his frequent digressions. It is a work, however, in esteem with antiquaries and collectors. Among the MSS. of Coislin, in the library of the abbey of St. Germain des Prés, there was preserved "A Discourse on the War against the Calvinists of the Province of Languedoc, from the Year 1619 to the Peace of Montpellier, in 1622," of which father Vaisset has made use in the fifth volume of his "History of Languedoc." As it is ascribed to a Peter Gariel, or Garriel, who was also a canon of Montpellier, most probably it was the production of our author. Moreri. Dict. Bibl. Hist. & Crit.-M. GARTH, sir SAMUEL, a physician and |