OVID 



liottom iK-dx of the oaiiie series, the former an- said 

 to overlap tin- I. iit.-i. ||.-iii-i- strata showing thi 

 tructure constitute an overlap. 



Over-stum-. SAMI;EL JONES Lorn. BARON, an 



economist iinil financier, was lM>rn in London, ill I 

 Septemlier I7!X), lieing tin- unly son of Mr Lewis 

 Ijoyd. descended from a respectable Welsh family. 

 and a leading |>artner in an eininrnt luuiking 

 house. From Eton he passed to Trinity College 

 Cambridge. On leaving Cambridge Loyd enteret 



his fathers liaiiking-liousc, /kerwerai rgcii 



in the L-.ndini and \\.-~iiiiin-ter Hunk. lit 



entere<l pnrliainent in I slit as Whig in IT for 



llylhe, which he cuntinncd to represent till Ivji; 

 and in ls."i<) was raised tn the |x-crage hy the title <il 

 I Inn MI (Ivcr-tone and Fotheringhay. 'The first 01 

 Lord Over-tone's fainous tracts on the management 

 of the Bank of England and the state of the cur 

 rency was pablttbed in 1K37, ami was followed b\ 

 others between that period and Is,"i7. The propoM 

 for making a complete separation In-tween the bank- 

 ing and issue departments of the Hank of England, 

 introduced liy I'eel into the Act of 1844, was lire) 

 brought forward in these tract*. Lonl Overstone 

 was currently believeil to have Iweii worth 

 i,000,000 or 8,000,000, but after his death, with- 

 out male issue living, on 17th November 1883, hi* 

 p.-isonal estate wan sworn under 2,11M,H03. He 

 zealously opposed the principle of limited liability, 

 and the introduction of the decimal system. 

 Overseers, See PARISH, POOR-LAWS. 



Overtoil, a parliamentary Iwrongh of Flint- 

 shire (detached), near the Dee, 23 miles N.MV. of 

 Shrewsbury. With Flint, &c., it returns one 

 member. Pop. 1131. 



Overture (Fr. ouverture) was originally an 

 instrumental prelude to an opera, oratorio, &c. It 

 lii-st received delinite form from the composer 

 Lully (rj.v. ), whose pattern was followed hy most 

 succeeding writers, including Handel, up to the 

 time of Cluck and Mozart. The somewhat dillerent 

 Italian form, styled Sinfmin, was developed by 

 Scarlatti. Modern overtures almost defy classifi- 

 cation. Two leading styles may lie indicated the 

 meilleii form, in wlii.-h various 'm. -Indie* from the 

 succeeding opera are interwoven, and the Hurst 

 examples of which are by Welwr and Wagner ; and 

 the iiidi-pcndent concert overture, usually in the 

 form of a lirst movement of a sonata, without 

 re|ieat, of which McndcUsolin's are the type. 

 Mozart's Magic Finis overture is a triumph of 

 constructive skill, combining the forms of sonata 

 and fugue. Beethoven's l.i-<,ni>r<t \<>. ,f is con- 

 sidered the greatest of all; while foreshadowing 

 the events and music of the opera, it has an indi- 

 vidual form of ito own, as has also his K<innit 

 overture. Operas e.g. NVagner's -now usually 

 commence with a short Intrmlin-l,,,,, ,, r Prelude, 

 leading without break into the first scene. 



Overysxel, a province of the Netherlands, 

 lying on the east side of the Zuider '/.<<. and 

 separated from (iuelderlnnd on the south |,y t|, e 

 river Yssel. Area. I .".)! s. ( . m. ; pop. (ism ) :)0,493. 

 HIM BMMOWI cover almost one-third ; moors are 

 exU-nsive; tli- province is well intersected by canals. 

 The chief cities are /wolle, Deventer, and Campen. 



Ovid (I'UBLIUS OVIDIUS NASO), born March 

 20 43 H.C., nt Siilmo, the present Solmona. in the 

 \\m\7M, was the younger of two sons, both of 

 whom were brought early to Home by their father, 

 a well-to-do rjnr.1, who placed them under I In- 

 most famous rhetoricians of the day, to l- trained 

 for the bar. His brother Lucius died in his 

 twentieth year, and Publius, in spite of extra- 

 ordinary forensic aptitude, cave up his whole time 

 and energies to poetry. He lilled, indeed, a few 



pots, but soon abandoned them, and, like 

 other yonii^ Human* of his class, repaired t<- 

 Athens, whence he crossed to Asia Minor, and 

 on the return journey lingered a while in Sicily. 

 While still a youth he married, but alnm-t 

 immediately Kpented from his wife, only to take 

 another, with whom he lived scarcely mote happily. 

 My her In- had a daughter, IVrilla, herwlf a pm i 

 He marrieil yet again, and this, his third wife, 

 Faliia, gained and returned his best affections, and, 

 unlike her two predecessors, survived him. His life 

 at his country-seat, among congenial friends and in 

 OOmMpondenoe \\ith the most distinguished of his 

 contemporaries, was an enviable one. Mrs*;ila 

 Coryinus, a highly cultured poet, i-xercised on his 

 rapidly developing powers a salutary influence, 

 reinforced by that of the younger Miicer, author of 

 the Ante-Homtriea and l'"*.t-ll<niitnca, of Pro- 

 jieitius, the epic ]>oet Ponticus. and otheis. II.- 

 liad no ac<[iiaintanc(- personally with Tibullus or 

 Virgil, Imth of whom died 19 B.C. 



His fust literary success was his tragedy Mnlrn, 

 of which Quintilian had a high opinion. Then 

 came his Epistolce or Heroiilcs, imaginary hue 

 lettei-s from ladies of the heroic foretime to their 

 lords: but in bis next publication he touched 

 the sphere he has made peculiarly IIH own his 

 Amnrr.s, so called from their subject-matter. Here 

 he had GaJlas, Tilmllus, and Propertius for exani- 

 plare, and in wit and wayward fancy, less often in 

 soul and passion, he excelled them all. His Mnli- 

 caiiiina Faciei (a practical poem on artificial aids to 

 jK-rsonal lieaiity) seems to have been preliminary 

 to his true master-work, the Art Ainmidi, o'r 

 Arg Amatoria, in three books, which appeared 

 aliout 1 Ii.f., followed by a subsidiary Imok entitled 

 licmctliit AIHHI-IS the formor teaching how to win 

 and preserve the love of woman, the latter how to 

 relieve the rebuffs and disappointment* encountered 

 in the attempt. These publications close the first 

 period of the poet's activity : the second opens with 

 the Mttmaarphotu, in fifteen books, and with the 

 f'ttsti, designed to be in twelve, of which six only 

 were completed. T\& MetamorpkMtt, according to 

 Bemhardy, surpasses all that nnlii|iiity has to 

 show in brilliant and felicitous metrical narration. 

 The /'.i^/, a contemporary work, forms in elegiac 

 distiches a poetic commentary on the calendar, 

 \\heivin the origin of Komaii feast-days, divini- 

 ties, and religious observances is set forth. 

 .Midway in its composition he was banished 

 (8 A.D.); but shortly before he died he worked at 

 a revised veision of it in order to dedicate it, thus 

 recast, to Germanicus the original having been 

 Inscribed to Augustus. But he did not carry out 

 this project. As it stands the t'ntti seeks to ennoble 

 the [Hilicy of Augustus, and, by revivifying their 

 forgotten religious ceremonials, to re-awaKenin the 

 Roman people the sentiment out of which these 

 ceremonials sprung. 



Posterity has failed to fathom the true ground 

 of <h id's banishment the poet himself refraining 

 studiously from all but the vaguest allusions to it. 

 He admits that he deserved to 1- so punished, but 

 lie also declares that he was more the witness than 

 the author of the offence. Whether he was con- 

 cerned in some intrigue of the licentious Julia, or in 

 >ne of the many scandals connected with Agrippa 

 PoctaltHIB, will never le cleared up. Nothing could 

 nove Augustus to a reprieve of the sentence ; so in 

 the late autumn, 9 A.D., he left, Home, as ' rele- 

 gains, non exul,' for Tomi. on the Euxine (close to 

 he present Kustendji ). There, at the outskirts of 

 toman civilisation, severed from wife, daughter, 

 elatives, and friends, with only the nomadic 

 v'vthians for neighlmurs, ho languished out the 

 ast years of his life. Tilierius remained as deaf to 

 ii appeals for mercy as Augustus, and there he died 



