901 



TALLTS, THOMAS. 



TAMBURINI, PIETRO. 



902 



notwithstanding the partial revival of his popularity on the 2nd and 

 3rd Prairial (May 17!>5), and tho services he rendered in La Vendde, 

 as commissioner to tho army commanded by Hocho, ho could not 

 regain his former influence. The execution of the royalist prisoners, 

 captured in the affair of Quiberon, once more darkened his name. 



On the 13th Veudemiaire, October 4, 1795, he displayed a degree of 

 courage which attracted tho favourable notice of Bonaparte ; and it was 

 to his conduct on this occasion that he owed his employment in the 

 expedition to Egypt in 1798, which continued until the year 1801, 

 when he was dismissed, and sent back to France, by General Meuou, 

 then Commander-in-chief. On his return to France Madame de 

 Foutenay, whom he had married in 1794, separated from him, and the 

 first consul did not encourage his visits. He afterwards languished 

 in great distress for several years. Tho consulship at Alicante was 

 procured for him by Fouche" in 1809, but tho return of the Bourbons, 

 in 1814, deprived him of this last resource. Not having taken office 

 under Napoleon, during the Hundred Days, he was suffered to remain 

 in Paris, though one of the Regicides; until he died in extreme 

 poverty on the 16th of November 1820. 



TALLIS, THOMAS, who is considered the patriarch of English 

 cathedral music, was born at about the same period as the famous 

 Italian ecclesiastical composer Palestrina, whose birth took place in 

 the year 1529. 



It has been stated, but most probably erroneously, that Tallis was 

 organist to Henry VIII. and his successors. He undoubtedly was a 

 gentleman of the chapel to Edward VI. and Mary ; and under Eliza- 

 beth the place of organist was added to his other office. He seems 

 to have devoted himself wholly to the duties of the church, for his 

 name does not appear to anything in a secular form. His entire 

 Service, including prayers, responses, litany, and nearly all of a 

 musical kind comprised in our liturgy, and in use in our cathedrals, 

 appeal's in Dr. Boyce's Collection, together with an anthem which has 

 long been in high repute with the admirers of severe counterpoint. 

 But for the smaller parts of his Service he was indebted to Peter 

 Marbeck, organist of Windsor, who certainly is entitled to the credit 

 of having added those solemn notes to the suffrages and responses 

 which, under the name of Tallis, are still retained in our choirs, and 

 listened to with reverential pleasure. [MA^BECR.] 



In 1575 Tallis published, in conjunction with his pupil, Bird (or 

 Byrde), ' Cantiones Sacrse,' master-pieces of their kind ; and these are 

 rendered the more remarkable from having been protected for twenty- 

 one years by a patent from Queen Elizabeth, the first of the kind that 

 ever was granted. One of these, ' sacrum convivium,' was adapted 

 by Dean Aldrich to the words ' I call and cry,' and is the above- 

 mentioned anthem, which still continues to be frequently performed 

 in most of our cathedrals. Two more of his anthems are printed in 

 Dr. Arnold's Collection. 



Tallis died in 1585, and was buried in the parish church of Green- 

 wich, in the chancel of which Strype, in his continuation of Stow's 

 ' Survey,' tells us he saw a brass plate, on which was engraved, in old 

 English letter, an epitaph, in four stanzas of four lines each, giving a 

 brief history of this renowned composer. The plate was carried away, 

 when the church was repaired somewhat over a century ago. The 

 verses are to be found in Hawkins, Burney, and most other publica- 

 tions relating to English church music. 



TALMA, FRANCOIS JOSEPH, an eminent French tragedian, waa 

 born in Paris, January 15th 1763. His father, who was a dentist, 

 went to England shortly after the birth of his son, and practised his 

 profession for some years in London. At nine years of age young 

 Talma returned to France, and was placed in a school at Chaillot, 

 which was kept by Monsieur Lamarguiere, a great admirer of the 

 drama, who delighted to discover and encourage a similar taste in any 

 of his pupils. A year after Talma had joined the school he was 

 intrusted with a part in an old tragedy, called ' Simois, Fils de Tamer- 

 lane,' which Monsieur Lamarguiere had selected for performance by 

 his scholars ; and so deeply did the future tragedian enter into the 

 feeling of the character, that he burst into tears at the recital of the 

 Borrows of the hero, whose brother he represented. At the age of 

 twelve he wrote a little drama, in the composition of which he further 

 developed his knowledge of the stage. He again visited London, and 

 returned a second time to Paris at the latter end of the year 1781, 

 when he commenced the study of logic in the College Mazarin. In 

 1783 he made a coup d'essai at the Thdatre de Doyen, in the character 

 of Seide, in the tragedy of ' Mahomet.' A council of friends, appointed 

 by himself, to judge of the performance, pronounced it a failure : " He 

 had not le feu sacrg." Talma deferred to this unfavourable opinion, 

 and quietly resumed the study of his father's profession ; but a few 

 years afterwards the same friends were called upon to reverse their 

 judgment and confess their mistake. On the 21st of November 1787, 

 he made his de"but at the Theatre Frangais, and in 1789 created a 

 great sensation by hib performance of Charles IX. At the commence- 

 ment of the French Revolution he nearly fell a prey to a severe 

 nervous disorder. On his recovery and the retirement of Larive, 

 Talina became the principal tragic actor. He reformed the costume 

 of the stage, and first played the part of Titus in a Roman toga. 

 During the reign of Napoleon he enjoyed the emperor's friendship ; 

 and was no less honoured or esteemed by Louis XVIII. In 1825 he 

 published some 'Reflections' on his favourite art ; and on the llth of 



June 1826 appeared on the stage for the last time in the part of 

 Charles VI. During his last illness the audiences of the The'atre 

 Franyais every evening called for an official account of the state of 

 his health previously to the commencement of the performances. He 

 died on the 19th of October following, and was buried in the cemetery 

 of Pere la Chaise, in the presence of an immense crowd. MM. Arnault, 

 Jouy, and Lafour pronounced orations over his grave. The Theatre 

 Frangais remained closed for three evenings, and the Opi'ra Coiuique 

 and oduon were also closed on the day of his funeral. The actors of 

 the Brussels Theatre (of which company he was an associate) wore 

 mourning for him for forty days, and a variety of honours were paid to 

 his memory at the principal theatres throughout France and the 

 Netherlands. Talma is said to have created seventy-one characters, 

 amongst the most popular of which were those of Orestes, CEdipus, 

 Nero, Manlius, Caesar, Cinna, Augustus, Coriolanus, Hector, Macbeth, 

 Hamlet, Othello, Leicester, Sylla, Regulus, Danville (in ' L'ficole des 

 Vieillards '), Leonidas, Charles VI., and Henry VIII. He has been 

 accused, remarks one of his biographers, of having spoken the verse 

 of tragedy as though it were prose ; but this avoidance of the jingle 

 of rhyme was one of the greatest improvements which ho introduced 

 upon the French stage. In person he was about the middle height, 

 square-built, and with a most expressive and noble countenance. 

 His voice was exceedingly fine and powerful, his attitudes dignified 

 and graceful. In private life he was distinguished for his manly 

 frankness, his kind disposition, and unaffected manners. He spoke 

 English perfectly, and was a great admirer of England and her insti- 

 tutions. He was the friend and guest of John Kemble, and was 

 present in Covent Garden Theatre when that great actor took his 

 leave of the stage. 



TAMBURFNI, PIETRO, born at Brescia in 1737, studied in his 

 native town, took holy orders, and was made professor of philosophy, 

 and afterwards of theology, in the episcopal seminary of Brescia. 

 After filling those chairs for twelve years, he was invited to Rome, 

 where Clement XIV. (Ganganelli) made him director of the studies of 

 the Irish college, in which situation he remained for six years. In 

 1778 he was recalled to Lombardy by the Empress Maria Theresa, and 

 appointed professor of theology in the University of Pavia, and at the 

 same time director of the studies of the German Hungarian college 

 in that city, and also censor of the press. In 1795 he was made 

 Professor Emeritus, with a pension. In 1797, when the French 

 invaded Lombardy, Tamburini was obliged by the new government to 

 resume active duties at Pavia, as professor of moral philosophy and of 

 ' jus naturae,' an arduous task in those times of confusion of ideas and 

 of barefaced licentiousness. Tamburini boldly fulfilled his duties, and 

 effected some good by proclaiming wholesome principles from his 

 chair. Shortly afterwards his chair was suppressed, but he was 

 appointed rector of the lyceum of his native town, Brescia. When 

 Bonaparte assumed the government in France and North Italy, Tam- 

 burini was sent again to Pavia as professor of moral philosophy and of 

 'jus naturae et gentium,' in which chair he continued for eighteen 

 years, till some years after the Restoration, when the Emperor Francis 

 made him again Professor Emeritus and prsesul of the faculty of law 

 and politics in the University of Pavia. Tamburini was also a knight 

 of the order of the Iron Crown. He died at Pavia, in March 1827, at 

 ninety years of age, a few days after the death of his brother professor 

 Volta. His remains were buried with the greatest honours, being 

 followed to the grave by the whole of the professors and above 600 

 students, with marks of sincere respect and deep regret. 



The work for which Tamburini is mostly known is 'Idea della Santa 

 Sede,' published anonymously at Pavia in 1784. An extract from the 

 author's preface will convey some idea of the nature of this work : 

 " It very often happens that to the most common and hacknied 

 expressions a vague and indeterminate meaning is attributed. A word 

 was originally fixed upon to signify a certain thing. The idea of it 

 was perhaps clear and precise in its origin ; but as in the course of 

 time the ideas of men change, the word is still retained, though people 

 attach to it different meanings. Hence obscurity and confusion and 

 interminable disputes arise, and still the sound of the disputed word 

 is kept up, without conveying any distinct idea of what it means. 

 Numberless examples might be quoted of such an occurrence. For 

 instance, in our own times everybody speaks of the Holy See, the 

 Apostolic See, the chair of St. Peter, the Roman Church, which are 

 so many expressions signifying the same thing, and which in ancient 

 times expressed a simple and clear idea, but which now convey to the 

 minds of people the most vague and indeterminate notions. Things 

 the most disparate are identified ; people confound one subject with 

 another, the see with the incumbent, the chair with the court of Rome, 

 the court with the church ; and from this medley arises a confusion of 

 ideas through which every decree that proceeds from Rome becomes 

 invested with the most respectable authority of the chair of St. Peter, 

 of the Apostolic See, of the Church of Rome a confusion followed 

 by the most pernicious consequences not only to local churches, but 

 also to the universal church, and to the Apostolic See itself. In order 

 to support certain decretals which emanated from Rome, some short- 

 sighted theologians have attributed to the Roman See new prerogatives 

 unknown to the earlier ages of the church, and they have had recourse 



to a supposed infallibility Other men have contested these 



prerogatives, and in the warmth of the controversy the real claims of 



