piece; the ceiling of the Caratfa 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.GARÇAO, Pedro Antonio Correa (1724–1772 , Portuguese lyric and dramatic poet, was born in the neigh- bourhood of Lisbon on the 24th of April 1724. Almost nothing of his biography is known except that he lived a life of quiet domesticity and learned leisure, in a rural retreat at Fonte-Santa near the capital, till about his thirty- sixth year, when he was imprisoned on an obscure charge which is believed to have arisen out of some expressions in his writings that had given offence to a despotic Government. After languishing in confinement for eighteen months, he was released by death on the 10th of November 1772. His works, which include sonnets, odes, satires, and epistles, as well as dramatic pieces, were published for the first time in a collected form in 1778 (Obras poeticas dc P. A. C. Gargao), and are regarded by the Portuguese as having marked a period of revival in their national literature. While, however, in an age of great degeneracy he succeeded in exhibiting purity and refinement of taste, he cannot be said to have given any indications of an original or power- ful genius. His dramas are confessedly imitations from foreign models ; while his odes, epistles, and satires, which have earned for him the title (shared by Ferreira) of “the Portuguese Horace,” at once reveal the source of their inspiration. His endeavour, moreover, occasionally to ap- proach the classic style more nearly by substituting quantity for rhyme can hardly be regarded as very successful.
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 debut 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 sing- ing being especially appreciated. This he further im— proved by careful study of the Italian method in Italy itself, where he continued his successes. His opera, The Calip/L 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 ertoclo (Ii canto. Amongst his pupils were his children (already mentioned), who, as well as his daughter Paulina, worthily continued his name in the musical world.
GARCILASO DE LA VEGA (1503–1536), soldier and poet, was born at Toledo in 1503. His father, Garcilaso (Garcias Laso or Garcilasso) de la Vega, was counsellor of state to Ferdinand and Isabella, and for some time their ambassador at the court of Rome; by his mother he was descended from the illustrious house of Guzman. At the age of seventeen he received a military appointment as a “contino” or guardsnian to Charles V., and in that capacity took part in the war against the insurgent eomuneros, having been present at the battle of Olias near Toledo, where he received a wound in the face. He afterwards served in the north of Italy, and gained great distinction by his bravery, particularly at the battle of Pavia in 1525. His marriage with a lady of the househoch of Queen Eleanor, which took place in the following year, suspended only for a very short time his activity in military and diplomatic employmeuts ; he took part in the repulse of the Turks from Vienna in 1529, was present at the splendid ceremonial connected with the coronation of the emperor at Bologna in 1530, and was charged with a secret mission to Paris in autumn of the same year. In 1531 he accompanied the duke of Alva to Vienna, where, for having been in some way privy to the clandestine marriage of his nephew to one of the ladies of the court, he was imprisoned for some months on an island in the Danube. It was during this captivity that he composed the fine “caneion” commencing “Con un manso ruido de agua corriente y clara.” Released and restored to favour in June 1532, he at once went to Naples on the staff of Don Pedro de Toledo, the newly-appointed viceroy, by whom he was twice sent on public business of importance to Barcelona, in 1533 and in 1534. After having accompanied the emperor on his Tunis expedition in 1535, where he fought bravely and received two severe wounds, he was employed as a confidential agent at Milan and Genoa in negotiations connected with the proposed invasion of Pro- vence, and afterwards joined the expedition itself when it took the field. Being with Charles in the neighbourhood of Fréjus during the retreat from Marseilles, tarcilaso de la Vega. was ordered to silence a small fort at the village of Muy, which had been harassing the movements of the army. In the successful discharge of this duty he received a wound on the head which, twenty-one days afterwards, at Nice, proved fatal (October 14, 1536). His literary remains, few in number, but destined to exert a powerful influence on the subsequent development of the poetry and general literature of his native country, were committed to the charge of his friend Boscan, who was preparing them for publication along with his own when death overtook him in 1540. The volume ultimately appeared at Barcelona in 1543, and has often been reprinted. #arcilaso’s share in it consists principally of three eglogas or pastorals, which the Spaniards regard as among the finest works of the kind in their language, and which for sweetness of versification and delicacy of expression take a high rank in modern European literature. In addition to the pastorals, there are thirty-seven sonnets, five canciones, two elegies, and an epistle in versi sciolti, in all of which the influence of Boscan is plainly felt, as well as that of the Italian models whom both poets avowedly imitated, Petrarch, Bembo, Ariosto, and Sannazaro. The poems rapidly gained a wide popularity; and within a century of their appearance they had been edited and commented on as classics by Sanchez, Herrera, and Tamayo de Vargas. “ Imitated by Lope de Vega in every possible way, praised more and cited oftener than any other poet by the genius of Cervantes, Garcilaso de la Vega has come down to us enjoying a general national admiration such as is given to hardly any other Spanish poet, and to none that lived before his time ” (Ticknor). An English translation of his works was published by Wiffen in 1823.
historian of ancient Peru, was born at Cuzco in 1540. His father was a cadet of the illustrious family of La Vega, who had gone to Peru in the suite of Pedro de Alvaredo, soon after the conquests of Pizarro; his mother was of the Peruvian blood-royal, a circumstance of which he was not
a little proud, as giving a right to the title which he claimed