GARAT, Dominique Joseph (1749-1833), was born at Bayonne, 8th September 1749. After receiving a good education under the direction of a relation who was a curé, he came to Paris, where he obtained introductions to the most distinguished writers of the time, and became a contributor to the Encyclopedic Méthodique and the Mercure de France. He gained considerable reputation by an éloge on L’Hôpital in 1778, and was afterwards three times crowned by the Academy for éloges on Suger, Montausier, and Fontenelle. In 1785 he was named professor of history at the Athenaeum, where his lectures enjoyed an equal popularity with those of Laharpe on literature. Being chosen a deputy to the states-general in 1789, he rendered important service to the popular cause by his nafrative of the proceedings of the Assembly contributed to the Journal de Paris. Possessing strongly optimist views, a mild and irresolute character, and indefinite and changeable convictions, he played a somewhat undignified part in the great political events of the time, and became a pliant tool in carrying out the designs of others. He succeeded Danton as minister of justice in 1792, and in this capacity had entrusted to him what he called the commission affreuse of communicating to Louis XVI. his sentence of death. In 1793 he became minister of the interior, and during the Reign of Terror he was imprisoned, but he received his liberty after the revolution of the 9th Thermidor, and was named minister of public instruction. In 1798 he was appointed ambassador to Naples, and in the following year he became a member of the Council of the Ancients. After the revolution of the 18th Brumaire, he was chosen a senator by Napoleon and created a count. During the Hundred Days lie was a member of the chamber of ...

GARAY, JÄNOS (1812-1853), Hungarian poet and author, was born 10th October 1812, at Szegsz4rd, in the county of Tolna. From 1823 to 1828 he studied at Fünfkirchen, and subsequently, in 1829, at the university of Pesth. Here, having become acquainted with the works of the best German authors, he devoted himself to literary pursuits, and in 1834 brought out an heroic poem, in hexameters, under the title CscJdr. After this he issued in quick succession various historical dramas, among which the most successful were Arbocz, Orszägh Ilona, and Bâthori Erzsebet, — the first two published at Pesth in 1837, and the last in 1840. From 1833 to 1836 Garay was, moreover, associated with the literary journal Regelo (Taleteller), and in 1837 assisted in the editorship of the periodical Rajzo-latok (Sketches). At the beginning of 1838 he removed to Presburg, where be was for some time engaged in editing the political journal Hirrωk (Herald). He returned to Pesth in 1839, when he was elected a corresponding member of the Hungarian Academy of Sciences. In 1842 he was admitted into the Kisfaludy Society, of which he became second secretary. Garay enriched Hungarian literature with numerous lyrical poems, ballads, and tales. The first collection of his poems was published at Pesth in 1843; and his prose tales appeared in 1845, under the title of Tollrajzok (Sketches with the Pen). His historical ballads and legends, styled Arpddok Pesth, 1847 (2d ed. 1848), showed him to be a master in the art of ballad writing. Some of his lyrical poems also are excellent, as, for example, Balatoni Kαgylok (Shells from the Balaton Lake), Pesth, 1848. His legend Bosnydk Zsofia, Γesth, 1847, as also his poetical romance Fraηgeρan Kmstofηe (Christopher Frange· pan’s Wife), Pesth, 1846, gained ...

GARBO, Raffaellino del (1466-1524), a Florentine painter. His real name was Raffaello Capponi; Del Garbo was a nickname, bestowed upon him seemingly from the graceful nicety (parbo) of his earlier works. He was a scholar of Filippino Lippi, with whom he remained till 1490, if not later. He showed great facility in design, and excited hopes which the completed body of his works fell short of. He married and had a large family; embarrassments and a haphazard manner of work ensued; and finally he lapsed into a very dejected and penurious condition. Three of his best tempera pictures are in the Berlin Gallery; one of the Madonna standing with her Infant between two musician-angels, is particularly attractive. We may also name the oil-painting of the Resurrection done for the church of Monte Oliveto, Florence, now in the academy of the same city, ordinarily reputed to be Raffaellino’s masterpiece; the ceiling of the Caraffa Chapel in the church of the Minerva, Rome; and a Coronation of the Virgin in the Louvre, which is a production of much merit, though with somewhat over-studied grace. Angelo Allori was his pupil.

GARCIA, Manoel (1775-1832), or, in full, Manoel Garcia del Popolo Vicente, was born in 1775 at Seville. He began artistic life as chorister at the cathedral of Seville, and simultaneously studied music under the best masters of his native city. At the age of seventeen he made his début on the stage at Cadiz, in an operetta of his own composition. Soon afterwards he appeared at Madrid in his twofold capacity of singer and composer. His reputation being thus established, he proceeded to Paris, where he appeared for the first time, in 1808, in Paer’s opera Griselda. Here also he was received with great applause, his style of singing being especially appreciated. This he further improved by careful study of the Italian method in Italy itself, where he continued his successes. His opera, The Caliph of Bagdad, was favourably received at Naples in 1812, but his chief successes were again due to his perfection as a vocalist. In 1824 he went to London, and thence proceeded to America (1825) with a company of excellent artists, amongst whom were his son Manoel and his daughter Maria, better known under her subsequent name of Malibran. He extended his artistic tour as far as Mexico, and was on the point of returning to Europe in order to retire from public life, when he was robbed of his well-earned wealth by brigands on his way to Vera Cruz. Settled again in Paris he soon retired from the stage, and devoted himself exclusively to teaching. He died in 1832. His method of teaching was unsurpassed, and some of the most celebrated singers of the early part of the century were amongst his pupils. He also wrote an excellent book on the art of singing called Metodo di canto. Amongst his pupils were his children (already mentioned), who, as well as his daughter Paulina, worthily ...