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GUIDES 



GUIENNE 



Handbook for Holland, Belgium, and North Ger- 

 many (the first work in English to which the name 

 of ' Handbook ' was applied ), there was in existence 

 no such thing as a guidebook to Germany, France, 

 or Spain, other than such books as Howell's In- 

 structions for Forreine Travell (1642) and its 

 successors. The only works deserving the name of 

 guidebook were J. G. Ebel's Anleitung for Swit- 

 zerland (Zurich, 1793; 8th ed. 1843); William 

 Boyce's Belgian Traveller (1815); and Mrs Mariane 

 Starke's Directions for Travellers in Italy (1820). 

 In the long series of his guidebooks Murray had 

 the assistance of many notable authors of Richard 

 Ford for Spain, Sir Gardner Wilkinson for Egypt, 

 Sir F. Palgrave for North Italy, Dr Porter for 

 Palestine, &c. Murray's guidebook served as the 

 foundation for the first of Baedeker's, the Ger- 

 man guide to Holland and Belgium, and these in 

 their turn inspired those of Baddeley and others. 

 Most of Baedeker's numerous guidebooks are trans- 

 lated into English, and are as well known as 

 Murray's even to English travellers. Other well- 

 known series of guidebooks are those of Appleton 

 and A. & C. Black. For France, the most accepted 

 authorities are the guides of Joanne ; for Italy 

 the ( German ) guide of Gsell Fels is admirable ; 

 for Norway Tonsberg's ( in English ) deserves to be 

 mentioned. Countless guides have been written 

 for all places of special interest both in England 

 and the Continent. An admirable series of short 

 practical books intended to embrace all the English 

 counties is that of the Tourist Guides published 

 by Edward Stanford. The most illustrious writer 

 who has written a guidebook is Wordsworth, whose 

 Guide to the English Lakes, written for Wilkinson's 

 Select Views in 1810, was printed separately in 1822. 



Guides, in military affairs, are usually persons 

 drawn from the country in which an army is oper- 

 ating, one or more being sent with every detach- 

 ment of troops. A guide should be intelligent, 

 quick of eye, experienced in the topography of 

 the country, and, above all, faithful. As, however, 

 guides must on many occasions be drawn from a 

 hostile population, and have probably only a 

 pecuniary interest in serving well, their conduct 

 is always watched with the utmost jealousy, death 

 being awarded as the punishment for the least 

 departure from trustworthiness, since treason or 

 incompetence might involve the most disastrous 

 consequences to the whole expedition. In the 

 French army a considerable corps of cavalry and 

 infantry bear the name, but the name only, of 

 'guides.' They were first formed in 1744 as a 

 small company of messengers on active service. 

 The number was gradually increased until the time 

 of Napoleon I., who formed them into a guard 

 10,000 strong. In the British Indian army the 

 corps of guides of the Punjab Frontier Force (six 

 troops of cavalry and eight companies of infantry ) 

 have acquired the name in a similar manner. 



Guidi, CARLO ALESSANDRO, an Italian lyric 

 poet, was born at Pavia in 1650, and died in 1712. 

 He was one of the founders of the academy called 

 L' Arcadia. For another GuiDl, see MASACCIO. 



Gllido* Guido Reni, a celebrated painter of 

 the school of Bologna, was born near that city, 

 at Calvenzano, on 4th November 1575. He 

 studied under Calvaert, and at the age of about 

 twenty entered the school of the Caracci, of which 

 he and Domenichino were the most famous pupils. 

 He is also stated to hate learned the processes of 

 fresco from Ferrantini. His earliest works, of 

 which the ' Coronation of the Virgin,' in the 

 National Gallery, London, is an example, are 

 marred by rather harsh and violent colouring ; but 

 coming under the influence of Caravaggio, he 

 adopted many of the qualities of his art, and his 



following works are characterised by forcible if 

 exaggerated chiaroscuro. About 1596 he settled 

 in Rome, where he worked for some twenty years, 

 adopting a graceful style, of which the famous 

 'Aurora and the Hours,' painted on the ceiling of 

 the pavilion of the Rospigliosi Palace, is a typical 

 example. This is usually regarded as the master- 

 piece of the artist, but some competent critics 

 rank even higher the unfinished 'Nativity,' in the 

 choir of San Martino at Naples. The portrait 

 titled ' Beatrice Cenci ' ( q. v. ) in the Barberini 

 Palace, Rome, is ascribed to Guido on very doubt- 

 ful authority. He now entered upon the third 

 period of his art, when he painted thinly, with 

 great ease of execution and a cold silvery delicacy 

 of colouring; but gradually his productions lost 

 the vigour of his earlier time, when he had been 

 more directly inspired by nature instead of by the 

 study of Raphael and of such examples of the 

 antique as the Niobe group. The decline of his 

 art is also attributable to nis extravagant habits 

 and his passion for gambling, which obliged him to 

 paint under pressure for the dealers, and to produce 

 much hasty and ill-considered work. On account 

 of a quarrel with the Cardinal Spinola regarding 

 an altarpiece commissioned for St Peter's he left 

 Rome and settled at Bologna, where he died 18th 

 August 1642. He was a most prolific painter, and 

 his works are to be found in all the chief European 

 galleries. At the beginning of the 19th century 

 they were very highly esteemed, but now in 

 common with the works of other post-Raphaelite 

 Italian masters they are less highly valued than 

 formerly. In addition to his paintings Guido pro- 

 duced some vigorous and freely-touched etchings, 

 including a portrait of Paul V. and several religious 

 subjects after his own paintings and those of the 

 Caracci. He had many pupils both at Rome and 

 Bologna. Of these the most celebrated was Simone 

 Cantarini, known as II Pesarese, who painted an 

 excellent portrait of his master, now in the Bologna 

 Gallery. 



Guido Aretinus, or Guy OF AREZZO, is be- 

 lieved to have been born near Paris in 990, and to 

 have come to Arezzo as a Benedictine monk. He 

 died a prior at Avellana in 1050. He greatly influ- 

 enced musical studies, and almost every discovery 

 made in music for 150 years has been attributed to 

 him, including that of descant, counterpoint, and 

 (absurdly enough) the spinet. It seems, however, 

 that it was he who first adopted as names for the 

 notes of the scale the initial syllables, set to 

 regularly ascending tones, of the nemistichs of a 

 hymn in honour of St John the Baptist (ut, re, 

 mi, &c.). Mr Rockstro holds it certain that he 

 invented the principle on which the construction of 

 the stave is based, and probable that he invented 

 the hexachord, solmisation, and the ' Harmonic, 

 or Guidonian Hand,' a mnemonic method of in- 

 dicating the order of the musical sounds on the 

 finger-joints of the left hand. The fame of Guido's 

 musical invention drew upon him the attention of 

 the popes Benedict VIII. and John XIX., who 

 invited him to Rome. Guido left writings ex- 

 planatory of his musical doctrines, especially the 

 Micrologus and the Antiphonarium. See mono- 

 graphs by Angeloni (1811), Kiesewetter (1844), 

 and Falciii ( 1882 ) ; Rockstro in the appendix to 

 Grove's Dictionary (1889) ; and the articles Music, 

 SOLFEGGIO. 



Guienne, one of the old French provinces, com- 

 prehending the present departments of Gironde, 

 Lot, Dordogne, Aveyron, with portions of Tarn- 

 et-Garonne and Lot-et-Garonne. It formed with 

 Gascony (q.v.) what was originally the country 

 of Aquitama (q.v.), of which name Guienne is a 

 corruption. 



