is unable when Christianity comes to be discussed to con- ceal his heartfelt dislike. Comparing " superstition ” with "superstition," virtue with virtue, vice with vice, Gibbon had formed a deliberate preference for the religion and ethics of ancient Rome. Philosophical students of history, even though they may feel themselves unable to subscribe the Athanasian creed, may now be said to be almost unanimous, however, in finding that the phenomenon called Christianity did mean for mankind a higher conception of
truth and a nobler conception of duty.Upon the famous fifteenth and sixteenth chapters it is not necessary to dwell, because at this time of day no Christian apologist dreams of denying the substantial truth of any of the more important allegations of Gibbon. Christians may complain of the suppression of some circumstances which might influence the general result ; and they must remonstrate against the unfair Construction of their case. But they no longer refuse to hear any reasonable evidence ten ling to show that persecution was less severe than had once been believed; and they have slowly learned that they can afford to concede the validity of all the secmidary causes assigned by Gibbon, and even of others still more dis- crelitable. The fact is, as the historian himself has again and again admitted, that his account of the secondary causes which contributed to the progress and establishment of Christianity leaves the question as to the natural or supernatural origin of Christianity practically untouched ; that question still continues to be agitated, but the battle is fought on a new field and with other weapons than those selected by Gibbon.
Of the original quarto edition of The Decline and Fall, vol. i. appeared, as has already been stated, in 1776, vols. ii. and iii. in 1751, and vols. iv —vi. (inscribed to Lord North) in 1758. In later editions vol. i. was considerably altered by the author; the others hardly at all. The number of modern reprints has been very considerable; but the most important and valuable English ‘ edition is that of Milmau (1839 and 1845), still more recently cnri: lied under the editorship of Dr 11'. Smith (8 vols. Svo, 18.34 and 1872). As a curiosity of literature Bowdler’s edition, “ adapted to the use of families and young persons” by the expurgation of “ the indecent expressions and all allusions of an improper tend- cncy " (5 vols. Svo, 1825), may be specially noticed. The French ti'uislation of Le Clerc de Septcliéiies, continued by Déincuiiier, Boulard. and Cantwell (1788—1795), has been frequently reprinted in France. It seems to be certain that the portion usually attri- buted to Septcliénes was, in part at least, the work of his distin- gui-shcd pupil, Louis XVI. A new edition of the complete trans- lation, prefaced by a letter on Gibbon’s life and character, from the pen of Suard, and annotated by Guizot, appeared in 1812 (and again in 1828). There are at least two German translations of The Decline and Full, one by “'enck, Schi‘eitcr, and Beck (1803—1807), and aseleond by Sporscliil (1862). The Italian translation (alluded to by Gibbon himself) was, along with Spedalicri's Confutazionr, reprinted at Milan in 1823. Gibbon’s Miscellaneous [I'm-L's, Nil/I, .I’llrmoirs of his L1: fr and IV 'z'tz'ngs, composed by Izz'msclf; illustrate-(l from. his letters, with occasional Notes and A'rzrralirr, published by Lord Sheffield in two volumes in 1796, has been often reprinted. The new edition in five volumes (1814) contained some previously unp'iblisbcd matter, and in particular the fragment on the revolu- toms of Switzerland. A French translation of the JIiscrllrmcous Works by Marigné appeared at Paris in 1798. There is also a German translation (Leipsic, 1801). lt may be added that a specialtranslation of the chapter on ltoman Law (Gibbon’s historisclm I. 'brrszcht Ilt's It‘b'mis-clwn Iii-chm) was published by Hugo at (16t- tingen 1111839, and has frequently been used as a text-book in German universities.
GIBBONS, Grisling (1648–1721), a celebrated English wood-carver, was born in 1618, according to some authorities of Dutch parents at Rotterdam, and according to others of English parents at London. fly the former he is said to have come to London after the great fire in 1666. He early displayed great cleverness and ingenuity in his art, on the strength of which lie was recommended by Evelyn to Charles II., who employed him in the execution both of statuary and of ornamental carving in wood. In statuary one of his principal works is a life-size bronze statue in the court of Whitehall. representing James II. in the dress of a Roman emperor, and he also designed the base of the statue of Charles I. at Charing Cross. lt is, however, chiefly as an engraver in wood that he has acquired a reputation. He was employed to execute the ornamental carving for tho ‘ chapel at Windsor, the foliage and festoons in the choir of St Paul’s, the baptismal fonts in St James’s, and an immense quantity of ornamental work at Burleigh, (‘hats- worth, and other aristocratic mansions. The finest of all his productions in this style is believed to be the ceilingr which he devised for a room at Petwortli. llis subjects are chiefly birds, flowers, foliage, fruit, and lace, and many of his works, for delicacy and elaboration of details, and truth- fulness of imitation, have never been surpassed. lle, how- ever, sometimes wasted his ingenuity on trifling subjects: many of his flowers used to move on their stems like their natural prototypes when shaken by a breeze. In J7l-t Gibbons was appointed master carver in wood to George 1. He died at London August 3, 1721.
GIBBONS, Orlando (1583–1625), like Johann Sebastian Bach, was the most illustrious of a family of musicians all more or less able. We know of at least three generations of musical Gibbons, for Orlando's father, William Gibbons, having been one of the waits of Cambridge, may be assumed to have acquired some proficiency in the art. His three sons and at least one of his grandsons inherited and further developed his talent. The eldest, Edward, was made bachelor of music at Cambridge, and successively held important musical appointments at the cathedrals of Bristol and Excter; Ellis, the seCond son, was organist of Salisbury Cathedral, and is the composer of two madrigals in the collection known as the The Triumphs 0f Oriana. Orlando Gibbons, the youngest and by far the most celebrated of the brothers, was born at Cambridge in 1583. Where and under whom he studied is not known, but in his twenty-first year he was sufficiently advanced and celebrated to receive the important post of organist of the Chapel Iloyal. His first published com. position “Fantasies in three parts, composed for viols,” appeared in 1610. It seems to have been the first piece of music printed in England from engraved plates, or “cut in copper, the like not heretofore extant.” In 1622 he was created doctor of music by the university of Oxford. For this occasion he composed an anthem for eight parts, 0 do]; your Howls, still extant. In the following year he became organist of Westminster Abbey. Orlando Gibbons died before the beginning of the civil war, or it may be siqqmsed that, like his eldest brother, he would have been a staunch royalist. In a different sense, however, he died in the cause of his master; for having been summoned to Canterbury to produce a conqmsition written in celebration of Cliarles's marriage, he there fell avictim to small—pox on June 5, 1625. Of his life very little is known, but that little is Well summed up in the article contributed by Mr \V. ll. Husk to Dr Grove’s Dictionary qulusic aml JllllSl'CI'llNN, where a complete list of his compositions is also given. Ilis portrait may be found in llawkins's well-known III-story. The works of Gibbons may be divided into secular and sacred compositions, the latter being by far the most im- portant portion. His vocal pieces, niadrigals, motcts, canons, songs, &c., are admirable specimens of Imrt-writing, and prove him to have been a perfect master of polyplioiious treatment. Many of them are for five voices, a very com- mon number in those days ; but pieces for four and for six voices also are by no means rare. To the first-named class belong a To Dmm in 1’) minor, two sets of Pratt; and other compositions for church service, also most of the madrigals. We have also some specimens of his instrumental music, such as the six pieces for the virginals published in I’m-(heme, a collection of instrumental music produced by Gibbons in conjunction with Dr llull and llyrd.
