516 



GRACE, DAYS OF GRAFTING. 



others, an essential part of the creed of the reformed 

 church. The evangelical Lutherans, on the other 

 hand, in their Form of concord, admitted that God 

 had ordained all men to eternal felicity, but knew 

 beforehand who would render themselves unworthy 

 of it, anil, consequently tliat election concerned only 

 really good men, and would be the cause of their 

 salvation. 



In the mean time, however, the Catholics had not 

 come to an agreement concerning this dogma. This 

 appears from the quarrels of the Dominicans and 

 Jesuits, the latter ot whom, on account of their mode- 

 rate views of the doctrine of election and the power 

 of free will, were charged by the former with Pela- 

 trianisin. This was particularly the case with the 

 Jesuit Lewis Molina, in 1588, from whom the Mo- 

 linistic disputes in the Netherlands received their 

 name. 



In the seventeenth century, also, two new parties, 

 which had their origin in the dispute concerning the 

 doctrine of predestination, sprang up in the Nether- 

 lands, namely, the Arminians (q. v.), or Remon- 

 strants, among the Protestants, and the Jansenists 

 among the Catholics. The former held to a univer- 

 sal and conditional divine predestination for the sal- 

 vation of all men, in opposition to the strict Calvinistic 

 party, from whom, in 1610, they formally separated 

 themselves. The latter, in consequence of the re- 

 vival of the Augustinian system of doctrines by 

 bishop Jansen (who died in 1638), in a dispute with 

 the Catholic church, which was then under the influ- 

 ence of moderate Jesuits, adopted the idea of a two- 

 fold and absolute divine predestination for the salva- 

 tion and damnation of men. From that time the 

 members of the Christian church have continued to 

 differ upon this subject. 



GRACE, DAYS OF; three days immediately fol- 

 lowing the time of payment of a bill, within which 

 the creditor must protest, if payment is not obtained, 

 in order to entitle him to recover the amount by legal 

 proceedings against the drawer, accepter, and in- 

 dorser one or all. 



GRACES (Gratiee and Charites) ; the goddesses 

 of grace, from whom, according to Pindar, comes 

 every thing beautiful and agreeable, through whom 

 alone man becomes wise and glorious. According to 

 Hesiod, and most poets and mythologists, Jupiter 

 was their father. Hesiod calls their mother Eury- 

 nome ; and most of the ancients agree with him in 

 this point. The Lacedaemonians and Athenians, at 

 first, knew of but two Graces, whom the former 

 called Phaenna (the brilliant) and Kleta (the 

 glorious) ; the latter, Hegemone (the leader) and 

 Auxo (the propitious). King Eteocles introduced 

 the worship of three Graces among the Orchomen- 

 ians, and Hesiod gives them the names of Aglaia 

 (brilliancy), Thalia (the blooming) and Euphrosyne 

 (mirth). Homer mentions them, in the Iliad, as 

 handmaids of Juno, but in the Odyssey, as those of 

 Venus, who is attended by them in the bath, &c. 

 He conceived them as forming a numerous troop of 

 goddesses, whose office it was to render happy the 

 days of the immortals. According to Hesiod, they 

 were an emblem of the disposition to please, and to 

 render social intercourse agreeable, by gayety and 

 politeness. Later poets considered them as allegori- 

 cal images. But the Graces always appear as at- 

 tendant, never as ruling deities. They do not conquer 

 hearts, but Venus conquers them through the G races ; 

 they do not adorn themselves, but they adorn Venus. 

 They not only improve corporeal charms, they have 

 an influence, also, upon music, eloquence, poetry, 

 and other arts; and the execution of acts of benevo- 

 lence and gratitude is likewiee superintended by 

 them. In the earliest times, the Graces were repre- 



sented entirely covered ; the gold statues of Puji 

 in Smyrna, and the marble ones of Socrates, at the 

 entrance of the Acropolis, at Athens, represented 

 them clothed. The same was the case with the 

 statues in the temple of Elis. One of them held a 

 rose, another a branch of myrtle (symbols of beauty 

 and love), the third a die (the symbol of sportive 

 youth). In later times, they were represented naked. 

 They had many temples in Greece, partly dedicated 

 to them alone, partly in common with other deities, 

 particularly Venus, the Muses, Cupid, Mercury and 

 Apollo. Their festivals were called, in Greece, 

 Charisia. It was customary to swear by the Graces, 

 and libations of wine were offered them at meals. 

 The most celebrated Graces of modern sculpture 

 are those of Canova and Thorwaldsen, productions 

 which would alone render those two great artists im- 

 mortal. 



GRACIOSO ; the theatrical name for a Spanish 

 buffoon or droll, a masked personage ; a standing 

 character in Spanish pieces, like the Hanswurst of 

 the German comedy, or the English Merry Andrew. 

 This character occurs under different names, in all 

 three species of the Spanish comedy, but especially 

 in the pieces of intrigue (comedias de capay espada). 

 The gracioso so far resembles the harlequin of the. 

 elder comedy, from whom some derive him, that he 

 is sometimes plump and gormandizing ; but other 

 traits his loquacity and cowardice are peculiar to 

 him. His pattern is rather to be found in the Sosias 

 of Plautus, or in the Davus, or other characters of 

 slaves, in Terence. The Spanish poets throw in 

 secondary traits of character in great variety, making 

 the gracioso sometimes very cunning and dexterous, 

 and at others, again, ridiculously silly. In some 

 pieces, a second gracioso (gracioso secundd) makes 

 his appearance, and even more have been introduced. 

 These masked personages are rarely used as agents 

 to involve the plot by their intrigues, but are prin- 

 cipally employed as merry servants to parody the 

 motives that actuate their master, which they often 

 do in a most agreeable and witty way. In the plays 

 of Augustin Moreto y Cabana especially, this part is 

 remarkable for happy strokes of wit. In music, 

 gracioso is the direction to give a passage a soft 

 agreeable expression. 



GR^ECIA MAGNA. See Magna Grcecia. 



GR^EVIUS, orGR^EFE, JOHN GEORGE; a learned 

 classical scholar, born at Naumburg, in Saxony, in 

 1632. Such was his ardour for study, that, while at 

 school, he sometimes passed the greater part of the 

 night in reading the works of Homer and Hesiod. 

 He then went to the university of Leipsic, and after- 

 wards to Amsterdam. At the age of twenty-four, 

 he was appointed professor at Duisbourg, and subse- 

 quently succeeded John Frederic Gronovius, at De- 

 venter. Thence he was invited, by the states of 

 Utrecht, to become professor of politics, history, and 

 rhetoric in their university, which station he filled 

 with great reputation during forty-one years; he also 

 held the office of historiographer to the king of Great 

 Britain, William III. He died in 1703. His literary 

 productions consist of valuable editions of the Epis- 

 tles and Orations of Cicero, and of the works of 

 Florus, Caesar, Suetonius., Hesiod, &c. ; besides two 

 large and valuable collections Thesaurus Antiqui- 

 tatum Romanarum (12 vols., folio), and Thesaurus 

 Antiquitatum et Historiarum Italia (6 vols., folio), 

 afterwards continued by Peter Burmann. Graevins 

 displayed little of the pedantry and arrogance 

 which too often deform the character of the critic, 

 and was deservedly esteemed both as a man and a 

 scholar. 



GRAFTING ; the act of inserting a shoot or sciou 

 taken from one tree, into the stem or some other part 



