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# A Cyclopaedia of Female Biography/Hastings, Elizabeth

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HASTINGS, ELIZABETH,
Daughter of Theophilus, Earl of Huntington, deserves a place in this collection, from the number of her public and private charities, which were perhaps never equalled by any of her sex. Congreve speaks of her, in the forty-second number of the Tattler, as the "Divine Aspasia;" and in the forty-ninth number of the same work gives a farther account of her:—"Her cares," says her biographer, "extended even to the animal creation; while over her domestics she presided with the disposition of a parent, providing for the improvement of their minds, the decency of their behaviour, and the propriety of their manners. She would have the skill and contrivance of every artificer used in her house, employed for the ease of her servants, and that they might suffer no inconvenience or hardship. Besides providing for the order, harmony, and peace of her family, she kept great elegance in and about her house, that her poor neighbours might not fall into idleness and poverty for want of employment; and while she thus tenderly regarded the poor, she would visit those in the higher ranks, lest they should accuse her of pride or superciliousness." At her table her countenance was open and serene, her voice soft and melodious, her ​language polite and animated. It might truly be said of this lady, that "her mind was virtue, by the graces drest." The sympathy, tenderness, and delicacy, which accompanied her liberalities doubled their value: she was the friend and patroness, through life, of Mrs. Mary Astell; to whom, her circumstances being narrow, she frequently presented considerable sums. Her benefactions were not confined to the neighbourhood in which she lived; to many families, in various parts of the kingdom, she gave large annual allowances. She also maintained a charity-school, gave exhibitions to scholars in the universities, and contributed to the support of several seminaries of education. To this may be added her munificence to her' relations and friends, her remission of sums due to her, in cases of distress or straitened circumstances, and the noble hospitality of her establishment. To one relation she allowed five hundred pounds annually, to another she presented a gift of three thousand pounds, and to a third three hundred guineas. She acted also with great liberality towards a young lady, whose fortune had been injured in the South-sea scheme: yet the whole of her estates fell short of three thousand pounds a year. It was by economy and strict self-denial that this noble lady was enabled thus to extend her bounties. Her favourite maxim was, first to attend to justice; secondly, to charity; and thirdly, to generosity.
She died in 1770, aged thirty-nine. Previous to her decease, she destroyed the greater part of her writings; so that her talents must be estimated from her works of benevolence, not from the productions of her pen, although she had a very superior mind. She would never marry, preferring, in a single and independent life, to be mistress of her own actions, and the dispenser of her own income.
# A Dictionary of Music and Musicians/Guadagni, Signora

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Guadagnini

From volume 1 of the work.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Grund, Friedrich

[ M. ]
# A Dictionary of Music and Musicians/Grützmacher, Friedrich

From volume 1 of the work.
[ T. P. H. ]
# A Dictionary of Music and Musicians/Guadagni, Gaetano

From volume 1 of the work.
[ J. M. ]
* ↑ Or Vicenza (Burney).
* ↑ He sang also in 'Theodora' (1750).
# A Dictionary of Music and Musicians/Gualandi

From volume 1 of the work.
​GUALANDI. See Campioli.
# A Dictionary of Music and Musicians/Ground Bass

From volume 1 of the work.
​GROUND BASS [App. p.658 "(Ital. Basso ostinato)"]. The most obvious and easily realisable means of arriving at symmetry and proportion in musical works is by repetition, and a large proportion of the earliest attempts in this direction took the safe side of making the symmetry absolute by repeating the same thing over and over again in the form of variations; and of this order of form a Ground Bass, which consisted of constant repetition of a phrase in the Bass with varied figures and harmonies above it, is a sub-order. At an early period of Modern Music this was a very popular device, resorted to alike by Italians, such as Carissimi and Astorga, and by our English Purcell. In the works of Purcell there are a great number of examples, both in his songs in the Orpheus Britannicus, and in his dramatic works, as in the Dido and Æneas, in which, though not a lengthy work, there are three songs on a Ground Bass; the best of which 'When I am laid in earth,' has often been pointed out as a fine example. An expansion of the idea was also adopted by him in the 'Music before the play' of King Arthur, in which the figure after being repeated many times in the bass is transferred to the upper parts, and also treated by inversion. Bach and Handel both made use of the same device; the former in his Passacaglia for Clavier with Pedals, and the 'Crucifixus' of his Mass in B minor; and the latter in his Choruses 'Envy eldest-born of Hell' in Saul, and 'O Baal monarch of the skies' in Deborah. In modern times Brahms has produced a fine example in the Finale to the Variations on a Theme of Haydn in B♭ for Orchestra.
At the latter part of the 17th century Ground Basses were known by the names of their authors, as 'Farinell's Ground,' 'Purcell's Ground,' etc., and extemporising on a Ground Bass was a very popular amusement with musicians. Christopher Simpson's 'Chelys Minuritionum, or Division Viol' (1665), was intended to teach the practice, which he describes as follows—'Diminution or division to a Ground is the breaking either of the bass or of any higher part that is applicable thereto. The manner of expressing it is thus:—
'A Ground, subject, or bass, call it what you please, is pricked down in two several papers; one for him who is to play the ground upon an organ, harpsichord, or what other instrument may be apt for that purpose; the other for him that plays upon the viol, who having the said ground before his eyes as his theme or subject, plays such variety of descant or division in concordance thereto as his skill and present invention do then suggest unto him.'
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Grädener, Carl

[ M. ]
# A Dictionary of Music and Musicians/Gruppo

[ M. ]
# A Course in Miracles/Workbook for Students/The Holy Spirit looks through me today

The Holy Spirit looks through me today.
Christ asks that He may use my eyes today, and thus redeem the world. He asks this gift that He may offer peace of mind to me, and take away all terror and all pain. And as they are removed from me, the dreams that seemed to settle on the world are gone. Redemption must be one. As I am saved, the world is saved with me. For all of us must be redeemed together. Fear appears in many different forms, but love is one.
My Father, Christ has asked a gift of me, and one I give that it be given me. Help me to use the eyes of Christ today, and thus allow the Holy Spirit's Love to bless all things which I may look upon, that His forgiving Love may rest on me.
# A Course in Miracles/Workbook for Students/The Word of God is given me to speak

The Word of God is given me to speak.
What is the Word of God? "My Son is pure and holy as Myself." And thus did God become the Father of the Son He loves, for thus was he created. This the Word His Son did not create with Him, because in this His Son was born. Let us accept His Fatherhood, and all is given us. Deny we were created in His Love and we deny our Self, to be unsure of Who we are, of Who our Father is, and for what purpose we have come. And yet, we need but to acknowledge Him Who gave His Word to us in our creation, to remember Him and so recall our Self.
Father, Your Word is mine. And it is this that I would speak to all my brothers, who are given me to cherish as my own, as I am loved and blessed and saved by You.
# A Course in Miracles/Workbook for Students/The Son of God is my Identity

The Son of God is my Identity.
My Self is holy beyond all the thoughts of holiness of which I now conceive. Its shimmering and perfect purity is far more brilliant than is any light that I have ever looked upon. Its love is limitless, with an intensity that holds all things within it, in the calm of quiet certainty. Its strength comes not from burning impulses which move the world, but from the boundless Love of God Himself. How far beyond this world my Self must be, and yet how near to me and close to God!
Father, You know my true Identity. Reveal It now to me who am Your Son, that I may waken to the truth in You, and know that Heaven is restored to me.
# A Course in Miracles/Workbook for Students/The gift of Christ is all I seek today

The gift of Christ is all I seek today.
What but Christ's vision would I use today, when it can offer me a day in which I see a world so like to Heaven that an ancient memory returns to me? Today I can forget the world I made. Today I can go past all fear, and be restored to love and holiness and peace. Today I am redeemed, and born anew into a world of mercy and of care; of loving kindness and the peace of God.
And so, our Father, we return to You, remembering we never went away; remembering Your holy gifts to us. In gratitude and thankfulness we come, with empty hands and open hearts and minds, asking but what You give. We cannot make an offering sufficient for Your Son. But in Your Love the gift of Christ is his.
# A Course in Miracles/Workbook for Students/The hush of Heaven holds my heart today

The hush of Heaven holds my heart today.
Father, how still today! How quietly do all things fall in place! This is the day that has been chosen as the time in which I come to understand the lesson that there is no need that I do anything. In You is every choice already made. In You has every conflict been resolved. In You is everything I hope to find already given me. Your peace is mine. My heart is quiet, and my mind at rest. Your Love is Heaven, and Your Love is mine.
The stillness of today will give us hope that we have found the way, and travelled far along it to a wholly certain goal. Today we will not doubt the end which God Himself has promised us. We trust in Him, and in our Self, Who still is One with Him.
# A Course in Miracles/Workbook for Students/The Holy Spirit speaks through me today

The Holy Spirit speaks through me today.
The Holy Spirit needs my voice today, that all the world may listen to Your Voice, and hear Your Word through me. I am resolved to let You speak through me, for I would use no words but Yours, and have no thoughts which are apart from Yours, for only Yours are true. I would be savior to the world I made. For having damned it I would set it free, that I may find escape, and hear the Word Your holy Voice will speak to me today.
We teach today what we would learn, and that alone. And so our learning goal becomes an unconflicted one, and possible of easy reach and quick accomplishment. How gladly does the Holy Spirit come to rescue us from hell, when we allow His teaching to persuade the world, through us, to seek and find the easy path to God.
# A Course in Miracles/Workbook for Students/The glory of my Father is my own

The glory of my Father is my own.
Let not the truth about ourselves today be hidden by a false humility. Let us instead be thankful for the gifts our Father gave us. Can we see in those with whom He shares His glory any trace of sin and guilt? And can it be that we are not among them, when He loves His Son forever and with perfect constancy, knowing he is as He created him?
We thank You, Father, for the light that shines forever in us. And we honor it, because You share it with us. We are one, united in this light and one with You, at peace with all creation and ourselves.
# A Course in Miracles/Workbook for Students/The holy Christ is born in me today

The holy Christ is born in me today.
Watch with me, angels, watch with me today. Let all God's holy Thoughts surround me, and be still with me while Heaven's Son is born. Let earthly sounds be quiet, and the sights to which I am accustomed disappear. Let Christ be welcomed where He is at home. And let Him hear the sounds He understands, and see but sights that show His Father's Love. Let Him no longer be a stranger here, for He is born again in me today.
Your Son is welcome, Father. He has come to save me from the evil self I made. He is the Self that You have given me. He is but what I really am in truth. He is the Son You love above all things. He is my Self as You created me. It is not Christ that can be crucified. Safe in Your Arms let me receive Your Son.
# 1911 Encyclopædia Britannica/Vidocq, François Eugène

See also Eugène François Vidocq on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VIDOCQ, FRANCOIS EUGÈNE (1775-1857), French detective, was born at Arras in 1775 (or possibly 1773). After an adventurous youth he joined the French army, where he rose to be lieutenant. At Lille he was imprisoned as the result of a quarrel with a brother officer, and while in gaol became involved, possibly innocently, in the forgery of an order for the release of another prisoner. He was sentenced to eight years' hard labour, and sent to the galleys at Brest, whence he escaped twice but was recaptured. For the third time he succeeded in getting free, and lived for some time in the company of thieves and other criminals in Paris and elsewhere, making a careful study of their methods. He then offered his services as a spy to the Paris police (1809). The offer was accepted, on condition that he should extend his knowledge of the criminal classes by himself serving a further term in prison in Paris, and subsequently Vidocq was made chief of the reorganized detective department of the Paris police, with a body of ex-convicts under his immediate command. In this capacity Vidocq was extremely successful, for he possessed unbounded energy and a real genius for hunting down criminals. In 1827, having saved a considerable sum of money, he retired from his post and started a paper-mill, the work-people in which were drawn entirely from ex-convicts. The venture, however, was a failure, and in 1832 Vidocq re-entered the police service and was employed mainly in political work, though given no special office. Anxious to get back to his old detective post he himself foolishly organized a daring theft. The authorities were unable to trace the thieves, who at the proper moment were “discovered” by Vidocq. His real part in the matter became known, however, and he was dismissed from service. He subsequently started a private inquiry agency, which was indifferently successful, and was finally suppressed. Vidocq died in great poverty in 1857. Several volumes have been published under his name, the best known of which is Mémoires de Vidocq (1828). It is, however, extremely doubtful whether he wrote any of them.
See Charles Ledru, La Vie, la mort et les derniers moments de Vidocq (Paris, 1857).
# 1911 Encyclopædia Britannica/Vienne, Council of

See also Council of Vienne on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VIENNE, COUNCIL OF, an ecclesiastical council, which in the Roman Catholic Church ranks as the fifteenth ecumenical synod. It met from October 16, 1311, to May 6, 1312, under ​the presidency of Pope Clement V. The transference of the Curia from Rome to Avignon (1309) had brought the papacy under the influence of the French crown; and this position Philip the Fair of France now endeavoured to utilize by demanding from the pope the dissolution of the powerful and wealthy order of the Temple, together with the introduction of a trial for heresy against the late Pope Boniface VIII. To evade the second claim, Clement gave way on the first. Legal trials and acts of violence against the Templars had begun as early as the year 1307 (see Templars); and the principal object of the council was to secure a definite decision on the question of their continuance or abolition. In the committee appointed for preliminary consultation, one section was for the immediate condemnation of the order, and declined to allow it any opportunity of defence, on the ground that it was now superfluous and simply a source of strife. The majority of the members, however, regarded the case as non-proven, and demanded that the order should be heard on its own behalf; while at the same time they held that its dissolution was unjustifiable. Under pressure from the king, who was himself present in Vienne, the pope determined that, as the order gave occasion for scandal but could not be condemned as heretical by a judicial sentence (de jure), it should be abolished per modum provisionis seu ordinationis apostolicae; in other words, by an administrative ruling based on considerations of the general welfare. To this procedure the council agreed, and on the 22nd of March the order of the Temple was suppressed by the bull Vox clamantis; while further decisions as to the treatment of the Order and its possessions followed later.
In addition to this the discussions announced in the opening speech, regarding measures for the reformation of the Church and the protection of her liberties, took place; and a part of the Constitutions found in the Clementinum, published in 1317 by John XXII., were probably enacted by the council. Still it is impossible to say with certainty what decrees were actually passed at Vienne. Additional decisions were necessitated by the violent disputes which raged within the Franciscan order as to the observance of the rules of St Francis of Assisi, and by the multitude of subordinate questions arising from this. Resolutions were also adopted on the Beguines and their mode of life (see Beguines), the control of the hospitals, the institution of instructors in Hebrew, Arabic and Chaldaic at the universities, and on numerous details of ecclesiastical discipline and law.
See Mansi, Collectio Conciliorum, vol. xxv.; Hefele, Conciliengeschichte, vol. vi. pp. 532-54.
# 1911 Encyclopædia Britannica/Vien, Joseph Marie

See also Joseph-Marie Vien on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VIEN, JOSEPH MARIE (1716–1809), French painter, was born at Montpellier on the 18th of June 1716. Protected by Comte de Caylus, he entered at an early age the studio of Natoire, and obtained the grand prix in 1745. He used his time at Rome in applying to the study of nature and the development of his own powers all that he gleaned from the masterpieces around him; but his tendencies were so foreign to the reigning taste that on his return to Paris he owed his admission to the academy for his picture “Daedalus and Icarus” (Louvre) solely to the indignant protests of Boucher. When in 1776, at the height of his established reputation, he became director of the school of France at Rome, he took David with him amongst his pupils. After his return, five years later, his fortunes were wrecked by the Revolution; but he undauntedly set to work, and at the age of eighty (1796) carried off the prize in an open government competition. Bonaparte acknowledged his merit by making him a senator. He died at Paris on the 27th of March 1809, leaving behind him several brilliant pupils, amongst whom were Vincent, Regnault, Suvée, Ménageot, Taillasson and others of high merit; nor should the name of his wife, Marie Thérèse Reboul (1728–1805), herself a member of the academy, be omitted from this list. Their son, Marie Joseph, born in 1761, also distinguished himself as a painter.
# 1911 Encyclopædia Britannica/Vielle

See also Vielle on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VIELLE, viole, vièle, a French term, derived from Lat. fidicula, embracing two distinct types of instruments: (1) from the 12th to the beginning of the 15th century bowed instruments having a box-soundchest with ribs, (2) from the middle or end of the 15th century, the hurdy-gurdy (q.v.). The medieval word vielle or vièle has often been incorrectly applied to the latter instrument by modern writers when dealing with the 13th and 14th centuries. The instruments included under the name of vielle, whatever form their outline assumed, always had the box-soundchest consisting of back and belly joined by ribs, which experience has pronounced the most perfect construction for bowed instruments. The most common shape given to the earliest vielles in France was an oval, which with its modifications remained in favour until the guitar-fiddle, the Italian lyra, asserted itself as the finest type, from which also the violin was directly evolved.  (K. S.)
# 1911 Encyclopædia Britannica/Vienne (river)

See also Vienne (river) on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VIENNE, a river of central France, a left-hand tributary of the Loire, watering the departments of Corrèze, Haute-Vienne, Charente, Vienne and Indre-et-Loire. Length, 219 m.; area of basin, 8286 sq. m. Rising on the plateau of Millevaches 14 m. N.W. of Ussel (department of Corrèze) at a height of 2789 ft., the Vienne flows westward, between the highlands of Limousin on the south and the plateau of Gentioux and the Blond mountains on the north. The first large town on its banks is Limoges (Haute-Vienne), below its confluence with the Taurion: in this part of its course the river supplies motive power to paper-mills and other factories. The river next reaches St Junien, below which it turns abruptly northwards to Confolens (Charente). Flowing through a picturesque and now wider valley, and passing in its course the churches and châteaux of Chauvigny, the river proceeds to the confluence of the Clain just above Châtellerault. Below that town it receives the Creuse (rising on the plateau of Millevaches and reaching the Vienne after a course of 159 m.), and turns north-west, uniting with the Loire below the historic town of Chinon. There is little river-traffic on the Vienne, and that only below its confluence with the Creuse (30 m.).
# A Dictionary of Music and Musicians/Torculus

[ W. S. R. ]
# A Dictionary of Music and Musicians/Torquato Tasso

[ G. ]