Carracci, however, were too jealous to rejoice in the extraordinary progress of Guido, who threatened to rival at least, if not surpass, their own claims to public applause, and Ludovico disgracefully attempted to depreciate his pupil by opposing Guercino to him, while Annibal himself is said to have censured Albani for having conducted Guido thither, alarmed at his aspiring talents, his graceful manner, and ambitious desire to excel.

It is not, however, in their style that he wrought, but he chose for himself his objects and manner of imitation; and his various styles exhibit how anxiously he sought for fame: at one time imitating Passerotti, at another Carravaggio, and then, stimulated by a remark of A. Carracci, framing one for himself; the reverse of Carravaggio's, all gentleness and softness. Skilful in execution, he had no diffculty in imitating whatever he desired: his pencil was light, and his touch free and delicate; and he took great pains to finish his pictures; not with minute detail, but with great roundness in the figures, correct arrangement of the folds of his draperies, which he perfectly understood, and made great use of in filling up his canvas, and the most careful management of all the inferior parts. The beauty he gave to his females, he sought for in the antique, and the group of Niobe particularly. He has frequently expressed the pathetic and the tender. One of his heads, formerly the property of earl Moira, and now in possession of the venerable president of the royal academy, exhibits our Saviour with the crown of thorns upon his head, and has been admirably engraved by Sharp. It is not possible for painting to go beyond it in the perfect attainment of its object, the expression of pious resignation under acute suffering of mind and body, with beauty and truth of character. Mr. Fuseli, in his late edition of Pilkington, has given justly the character of the generality of Guido's works; he says, "his attitudes seldom elevate themselves to the fine expression and graceful simplicity of the face: the grace of Guido is the grace of theatre; the mode, not the motive, determines the action: his Magdalens weep to be seen, his Hero throws herself over Leander, Herodias holds the head of her victim, his Lucretias stab themselves, with the studied airs, and ambitious postures, of buskined heroines; it would, however, be unjust not to allow there are exceptions from this affectation in his works. Helen departing with Paris, is one which alone might atone for

every other blemish. In her divine face, the sublime purity of the Niobe is mixed with the charms of the Venus; the wife, the mother, give indeed way to the lover; but spread a soft melancholy which tempers her fervour with diguity. This expression is supported by the careless unconscious elegance of her attitude, whilst that of Paris, stately, courteous, insipid, gives him more the air of an ambassador, attending her as proxy, than that of a lover carrying her off for himself."

Many of Guido's latter performances are not to be placed in competition with those which he painted before he unhappily fell into distressed circumstances, by an insatiable appetite to gaming, when his necessities compelled him to work for immediate subsistence, and he contracted a habit of painting in a more slight and negligent manner, without any attention to his honour or his fame. In the church of St. Philip Neri, at Fano, there is a grand altar-piece by Guido, representing Christ delivering the keys to St. Pe

ter.

The head of our Saviour is exceedingly fine, that of St. John admirable; and the other apostles are in a grand style, full of elegance, with a strong expression; and it is well preserved. In the archiepiscopal gallery at Milan, is a St. John, wonderfully tender in the colouring, and the graces diffused through the design excite the admiration of every beholder. At Bologna, in the Palazzo Tanaro, is a most beautiful picture of the Virgin, the infant Jesus, and St. John; in which the heads are exquisitely graceful, and the draperies in a grand style. But in the Palazzo Zampieri is preserved one of the most capital paintings of Guido: the subject is, the Penitence of St. Peter after denying Christ, with one of the apostles seeming to comfort him. The figures are as large as life, and the whole is of an astonishing beauty; the painter having shewn, in that single performance, the art of painting carried to its highest perfection. The heads are nobly designed, the colouring clear and precious, and the expression inimitably just and natural.

Great were the honours this painter received from Paul V. from all the cardinals and princes of Italy, from Lewis XIII. of France, Philip IV. of Spain, and from the king of Poland and Sweden, who, besides a noble reward, made him a compliment, in a letter under his own hand, for an Europa he had sent him. He was extremely handsome and graceful in his person; and so very beautiful in his

1

younger days, that his master Ludovico, in painting his angels, took him always for his model. Nor was he an angel only in his looks, if we may believe what Gioseppino told the pope, when he asked his opinion of Guido's performances in the Capella Quirinale, "Our pictures," said he," are the works of men's hands, but these are made by hands divine " In his behaviour he was modest, gentle, and very obliging; lived in great splendour both at Bologna and Rome; and was only unhappy in his immoderate love of gaming. To this in his latter days he abandoned himself so entirely, that all the money he could get by his pencil, or borrow upon interest, was too little to supply his losses and he was at last reduced to so poor and mean a condition, that the consideration of his present circumstances, together with reflections on his former reputation and high manner of living, brought a languishing distemper on him, of which he died in 1642.1

GUIGNES (JOSEPH DE), an eminent oriental scholar in France, was born at Pointoise, Oct. 19, 1721. He studied the oriental languages under the celebrated Stephen Fourmont, and was appointed king's interpreter in 1741, and a member of the academy of belles lettres in 1753. Having minutely investigated the Chinese characters, and compared them with those of other languages, he fancied he had discovered that they were only monograms formed of three Egyptian letters, and deduced from this that China' had been originally peopled by an Egyptian colony. The same notion had been adopted before his time by Huet, Kircher, and Moiran; but other learned men, Deshauteraies, Paw, and the Chinese missionaries, have fully refuted it. De Guignes was for thirty-five years engaged in the "Journal des Sçavans," which, as well as the Memoirs of the academy of belles lettres, he enriched with a great number of learned papers on the religion, history, and philosophy, of the Egyptians and Chinese Indians, &c. One very important service he rendered his country by discovering the punches and matrices of the oriental types which Savary de Breves, ambassador from Henry IV. at Constantinople, had brought into France, but which were now in such a state that Guignes was the only person who could put them in order, and give instructions for using them.

1 Argenville, vol. II.-Pilkington.-Rees's Cyclopædia. Sir J. Reynolds's Works; see Index.

From them he was enabled to cast fonts of the Arabic, Turkish, Persian, Syriac, Armenian, Hebrew, and Chinese, acquisitions of great consequence to his inquiries. With their aid he passed the greater part of his life among his books, without ambition for more than a competence suited to his literary wants. In his old age, however, the revolution deprived him even of this, but he still preserved his cheerful temper and independent spirit. Some help he derived from a legacy of 3000 livres, which Grosley, his fellow academician, and a distant relation, bequeathed to him. He died at Paris March 22, 1800, and was said at that time to be the only person in Europe perfectly acquainted with the Chinese language. His publications are, 1. "Abrege de la vie d'Etienne Fourmont," Paris, 1747, 4to. 2. "Histoire generale des Huns, des Turcs, des Mogols, et des autres Tartares occidentaux," 17,56, 4 vols. 4to, taken from Chinese and oriental manuscripts, and without doubt, his greatest work, and that on which he had bestowed infinite labour, but in which there is a want of taste, and of style suited to the subjects, with frequent repetitions, which make it a book rather to be consulted than read. 3. The "Memoire," already noticed, in which he attempts to prove that the Chinese were a colony from Egypt, 1759, 12mo. 4. "Chou-King," 1770, 4to. Gaubil had published a translation of this sacred book among the Chinese, which de Guignes now reprinted with notes. 5. L'Art militaire de Chinois," 4to. 6. "Essai historique sur la typographie orientale et Grecque," 1787, 4to. 7. "Principes de composition typographique," 1790, 4to, for the use of the compositors who were employed on the oriental types. He wrote also many notices of Arabian manuscripts for the catalogue preserved in the royal library.1

GUILD (WILLIAM), an eminent Scotch divine, the son of an opulent tradesman in Aberdeen, was born in that city in 1586, and received a liberal education at Marischal college, then recently founded, with a view to the church. Before he took orders, however, he appeared as an author, by publishing, when only in his twentieth year, a treatise entitled "The New Sacrifice of Chr stian Incense," London, 1608; and the same year, "The only way to Salvation," printed also at London. Immediately after the publication of these, he appears to have taken orders, and was

1 Dict. Hist.

called to the pastoral charge of the parish of King Edward in the presbytery of Turriff and synod of Aberdeen. Here he passed some of the happiest years of his life, in high favour with his parishioners; and here in 1610 he married Katherine Rowen, daughter of Mr. Rowen or Rolland of Disblair, by whom he had no issue. In 1617, when king James I. visited Scotland, with a view to establish episcopacy, and brought bishop Andrews of Ely with him to assist in the management of that very delicate and ultimately unsuccessful attempt, Dr. Andrews, anong other eminent. men of the Scotch clergy whom he consulted, paid great regard to Mr. Guild; and the following year, when Andrews was promoted to the see of Winchester, Mr. Guild dedicated to him, one of his most useful works, entitled "Moses unveiled," pointing out those figures in the Old Testament which allude to the Messiah. Mr. Guild became, much about the same time, acquainted with Dr. Young, a countryman of his own, dean of Winchester, who introduced him to the king, by whom he was appointed one of the royal chaplains. This obligation he afterwards acknowledged in the dedication to his "Harmony of the Prophets," a work which he published in the beginning of the reign of Charles I. It was afterwards printed with his "Moses unveiled," in an edition now before us, dated Edinburgh, 1684.

As his attention to public affairs did not prevent him from applying diligently to his private studies, he continued, during his residence at King Edward, to exercise his talent for composition, and occasionally sent to the press some useful tracts. Most of his performances were of the popular kind, and all of them appear to have been adapted, as much as possible, to common use; but his literary merit was acknowledged by those who were more competent judges than the multitude. Men of learning. knew him to be learned; the academical honour of D. D.. was conferred upon him, and he was ranked, while yet a young man, among the ablest divines in the church of Scotland. In 1625 and 1626 he published the "Ignis Fatuus" against the doctrine of purgatory, and "Popish. glorying in antiquity turned to their shame," both printed at London. His next publication, entitled "A compend of the Controversies of Religion," was printed at Aberdeen.

In 1631 he was removed to be one of the ministers of Aberdeen. He had long before this afforded proof of his