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He also became abbot of St. Vilmer, almoner to the du chess of Orleans, secretary to the duke of Maine, and member of the French academy. He died November 19, 1719. His principal work is in French verse, entitled "Principes de la Philosophie," 12mo; he also wrote four tragedies, one of which, called "Penelope," was much admired; and his "Joseph," still more so, when performed in private at the duchess of Maine's, at Clugni; but sunk under the more impartial taste of the French theatre. The two others are," Zenolide Princess de Sparte," and "Polymnestre." In the collection of " Vers Choisis," by Bouhours, is a very elegant, though not very argumentative. epistle from the abbé Genest, to M. de la Bastide, persuading him to abjure the protestant religion. He had also a great share in the collection entitled "Les Divertissemens de Sceaux," 2 vols. 12mo.1

GENNADIUS, patriarch of Constantinople, who succeeded Anatolius in the year 458, is recorded for having very diligently restored the discipline of his see, which he found greatly impaired, and for making many good regulations. He wrote a commentary on Daniel, and many homilies; but none of his works are extant except a circular epistle against simony, inserted in vol. IV. of the "Collect. Concil." and a fragment of a work against the anathemas of Cyril. His character is that of an eloquent and able theologian. He died in the year 471.2

GENNADIUS, an ecclesiastical writer, was a priest of Marseilles, but not a bishop, as some have imagined; and died about the year 492 or 493. There are two works of his remaining; one," De Dogmatibus Ecclesiasticis," which was falsely attributed to St. Augustin, and has been printed in some editions of his works; another, "De Illustribus Ecclesiæ Scriptoribus," in St. Jerome's Works, Antwerp, 1639, fol. and Hamburgh, 1718, fol. Some chapters of it appear to have been added by a more modern hand. Gennadius has been accused of adhering some time to the errors of Pelagius; but, as is now agreed, without any reasonable foundation."

GENNARI (CESAR and BENEDICT), two brothers, the sons of Ercole Gennari, by a sister of Guercino, were the heirs of the latter, and his copyists, and imitators: they

Moreri.-Dict. Hist.

3 Cave, vol. I.-Saxii Onomast.

2 Cave, vol. I.-Moreri.-Dupin.

made numerous repetitions of his Sibyl, his St. John, and Herodias, recognized by tints less vigorous, and the want of that freshness which distinguishes the originals. After having worked jointly at Cento, Bologna, and various towns of Italy, Cæsar established himself at Bologna, and continued to imitate his uncle. Benedict, or, as he is more familiarly called, Benedetto, went to England, and adopted a neater and more studied manner as painter to James II. he painted the portrait of that prince and of his family; but at their expulsion, returned to Italy, nearly transformed to a Dutch or Flemish artist; such was the truth with which he imitated velvets, silks, stuffs, ornaments, and whatever can give brilliancy to portraits, whilst at the same time he corrected and embellished the character of his sitters without impairing the resemblance: a taste so novel in Italy acquired him applause and distinguished employment. His historic works are, a St. Leopardo in the dome of Osimo, and a St. Zaccaria at Forli, which want only more vigour and relief, to be equal to Guercino. He died 1715, aged eighty-two.-There was another artist of this family, BARTHOLOMEW, uncle to the preceding, who, as a copyist resembles Guercino less than the three already mentioned; perhaps, as an imitator, more. He has animation and expression. One LORENZO GEnnari, of Rimini, who appears to advantage in a picture at the Capuchins, was likewise a pupil of Guercino, and perhaps a relative. '

GENOVESI (ANTONY), or, as styled in his Latin works, ANTONIUS GENUENSIS, an Italian writer of much reputation on subjects of political œconomy in Italy, was born at Castelione, in November 1712. It not being probably the custom to educate the eldest sons of Italian families for the church, his biographer, Fabroni, seems to complain of this as an act of severity on the part of Genovesi's father. He received, however, a suitable education for this profession, and in due time was consecrated a priest; but his views of preferment being obstructed, he attempted the practice of the law, in which he was equally unsuc cessful, and at length, when at Naples in 1741, was appointed professor of metaphysics. Some bold opinions delivered in the course of his lectures created a clamour against him, as advancing infidel principles, but he appears 1 Pilkington, Lord Orford's Painters.

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to have been befriended by Galiani, who was superintendant of the universities of Naples, and removed him to the professorship of ethics. In 1748 he was a candidate for the professorship of theology, but his notions had given such offence that he was rejected, which seems to have induced him to turn his mind to subjects of political economy, particularly agriculture, in which there was less risk of offending either the principles or prejudices of his countrymen. A professorship was now founded for political œconomy, and bestowed upon him with a handsome salary. This he continued to hold with the greatest reputation until his death in 1769. His private character appears to have been very amiable, and his works, although little known, and indeed little wanted in this country, were of essential service in the schools of Italy, and directed the attention of youth to subjects more connected with patriotism and public spirit than those they had been accustomed to study. They are, according to Fabroni, 1. " Disciplinarum metaphysicarum Elementa mathematicum in morem adornata," 1744-1751, 4 vols. 8vo. 2. "Elementorum artis logico-criticæ libri quinque," Naples, 1745. 3. "Discorso sopra alcuni trattati d'Agricoltura," ibid. 1753. 4. "Lettere Accademiche," ibid. 1764. 5. A translation of Carey's History of English Trade, under the title "Storia del Commercio della Gran Brettagna," &c. 1757. 6. "Delle Lezioni di Commercio." 7. 7. Discorso sopra l'Agricoltura," with a translation of Tull's Husbandry. 8. "Discorso sul volgarizzamento del Saggio Francese sull' Economia de' grain," Naples, 1765. 9. "Meditazioni Filosofiche sulla religione e sulla morale," ibid. 1766, a work in which Fabroni says there is nothing new, or worthy of the author. 10. " Della Diceosina, o sia della filosofia del giusto e dell' onesto," 1766-1776, 3 vols. 11." Universæ Christianæ Theologiæ elementa dogmatica, historica, critica," a posthumous work, Venice, 1771, 2 vols. 4tc, on which the author had been employed from the year 1742, but leaving it imperfect, it was completed by the editor, with much trouble.1

GENT (THOMAS), a native of York, and an industrious collector of antiquities, was born in 1691, and educated as a printer, which trade he first exercised in London, sometimes as a servant, and sometimes as a master. In 1724

1 Fabroni Vitæ Italorum,

he began the same business at York, where he remained the whole of his long life, dying there May 17, 1778, in the eighty-seventh year of his age. He was at this time supposed to be the oldest master printer in Britain, and was a freeman of London, York, and Dublin. He compiled various articles respecting the antiquities of Yorkshire, which, although printed in an humble form, and generally with mean cuts, contain some particulars not to be found in larger histories, and of late have risen considerably in price. Among these are, 1. The ancient and modern history of the famous City of York," 12mo. 2. "Compendious History of England and Rome," York, 1741, 2 vols. 12mo: in this are some additions concerning York, Pontefract, &c. 3. "The ancient and modern History of the loyal town of Rippon," ibid. 1733, 8vo. 4. "Annales Regioduni Hullini, or the History of Kingstonupon-Hull." ibid. 1735, 8vo. 5. "Piety displayed; in the holy life and death of the ancient and celebrated St. Robert, hermit at Knaresborough, &c." 12mo. 6. "The most delectable, scriptural, and pious history of the famous and magnificent great Eastern Window in St. Peter's cathedral, York," ibid. 1762, 8vo. '

GENTILESCHI (HORATIO), an Italian painter, whose family name was Lomi, which he exchanged for that of his maternal uncle, Gentileschi, was born at Pisa in 1563. After having made himself famous at Florence, Rome, Genoa, and in other parts of Italy, he removed to Savoy; whence he went to France, and at last, upon the invitation of Charles I. came over to England. He was well received by that king, who appointed him lodgings in his court, together with a considerable salary; and employed him in his palace at Greenwich, and other public places. The most remarkable of his performances in England, were the cielings of Greenwich and York-house. He painted a Madona, a Magdalen, and Lot with his two Daughters, for king Charles; all which he performed admirably well. After the death of the king, when his collection of paintings were exposed to sale, nine pictures of Gentileschi were sold for 600l. and are now said to be the ornaments of the hall in Marlborough-house. His most esteemed work abroad was the portico of cardinal Bentivoglio's palace at Rome, and a "David standing over Goliah," Nichols's Bowyer.-Gough's Topography, vol. II.

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painted with a vigour and vivacity of tints that make him start from the canvass, and give the idea of a style yet unknown. This is in the house Cambiasi, at Genoa. He made several attempts in portrait-painting, but with little success; his talent lying altogether in histories, with figures as large as the life. He was much in favour with the duke of Buckingham, and many others of the nobility. After twelve years continuance in England, he died here in 1647, and was buried in the queen's chapel at Somersethouse. His head is among the prints taken from Vandyke, by whom he had been painted.

He left behind him a daughter, ARTEMISIA GENTILESCHI, who was but little inferior to her father in history-painting, and excelled him in portraits. She lived the greatest part of her time at Naples in much splendour; and was as famous all over Europe for her love-intrigues, as for her talents in painting. She died in 1642. She painted many historical pictures of full size, among which, the most celebrated was that of David with the head of Goliah in his hand. She drew also the portraits of some of the royal family, and many of the nobility of England.'

GENTILIS (ALBERICUS), an eminent civilian at Oxford, was the son of Matthew Gentilis, an Italian physician, the descendant of a noble family of the Marche of Ancona, who left his country about the end of the sixteenth century, on account of his having embraced the protestant religion. Taking with him his sons Albericus and Scipio, he went into the province of Carniola, where he received his doctor's degree, and then into England, after his eldest son Albericus, who was born in 1550. He was educated chiefly in the university of Perugia, where, in 1572, he was made doctor of civil law. He came into England probably about 1580, as in that year he appears to have been kindly received by several persons here; and among others, by Robert Dudley, earl of Leicester, then chancellor of the university of Oxford, who gave him letters of recommendation to the university, stating that he had left his country for the sake of his religion, and that it was his desire to bestow some time in reading, and other exercises of his profession, at the university, &c. He accordingly went to Oxford, and by favour of Dr. Donne, principal of New Inn Hall, had rooms allowed him there, and at first was

1 Pilkington.-Lord Orford's Painters.

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