GEM 
Suter boa — it has a tendon united to that of the bb: 
turator e 
The geminus Ie inferior refembles the former i in figure and 
diretion, covered behind by the glu and 
er extremit o the upper and back part of 
the a 2 ‘the chum ; the fibres run sie earae| 
ds, and a he a lay clo e 
om 
If the 
GeMINI, in a the Tov wins 3 a conftellation, or 
fign of the zodiac, the third in order: reprefenting Caftor 
oe Pollux ; and it ismarked thus, 1. See ConsTELLA- 
T:i0 
Hy his conftellation was anciently depicted by a couple of 
young kids, by the Egyptia n nations, as de- 
i r 8 ar; but 
altered them to two children, which fame of 
them reprefented by Caftor and Pollux, fome by Hercules 
and Apollo, and others by Triptolemus and Jafion; but 
the Arabians afterwards changed them into two peacocks, 
Gemini, and nee arofe all the j jargon of aftrologers about 
the agreement of the fun and this conttellation. 
. Gemini, St in a iat a — of Italy, in the duchy 
of Spoleto; fix mile 
GEM INIANI, Faascsse, in Sse Sie 0 My a se 
of great abilities and reno He was a native 
born about the year 16665 ; ind received his fir{t infusion 
on :the,yiolin of Carlo Ambrogio Lonati, of Mila 
mohlyjealled., Tl Gobbo, a celebrated performer on ‘Ceca in- 
ftrusti salad who fet the opera of “ Ariberto & Flavio” for 
Venice, in 1684. fter this, he nudied sant pole o ho 
Alef. Leanne at Rome, where ecame a dife f Co- 
relli on the violin; and having finithe his aie Peon, he 
went to Naples, where, from the reputation of his perform- 
ance at Ron me, he was placed at the head of the or ee ra3 
e performers were able to 
lepa eae other unexpected accelerations and relaxa 
ions of meafu 
The y ae Barbella affured the writer = this pie 
that his ‘asher, who well remembered the val of 
niini at Naples, faid he ,was’ never tr ufted een a ae 
part than the nee during bis refidence in that city. 
He arrived in England in 1714, and in 1716 publifhed in 
London his firft work, confifting of 12 folos for the violin, 
dedicated to baron Kilmanfegge, on the f Corelli; 
fix with double ftops, and fix fingle, which, though few 
VoL. KV. 
GEM. 
éoild execute, yet all the profeffors allowed them to b 
fterly ; more learned and difficult than thofe of his 1 mo- 
del, re not {fo pleafing. Thefe folos feem to have been 
previoufly publifhed at Amfterdam by le Cene; we are ia 
poffeflion of a ccpy beautifully engraved -on cop In 
1726 he formed Corelli's firft fix folos into concertos, and 
He likewife felected fix of his fonatas 
or the fame purp and imitating his ftyle in componny 
additional parts to them, manifeited how much he refpected 
the originals. It was not till the year 1732 that Gtsminiani 
publithed his firft fix concertos, which he called his «« Opera 
r fec t of con- 
certos, appeared, which Jrablithed his charaéter, am placed 
him at the head of all the mafters then living, in this {pecies 
of compofitien. 
His fecond fet of folos, commonly called his French fo- 
los, either from their ftyle or their having been compofed 
and engraved i ‘hefe 
were a ier more than played; as about this time it be- 
e than ever the fathion for public signet ers = 
erform ay their own Saat and others 
able to execute the His third fet of el. ‘which 
appeared about de year 1741, was fo laboured, ae 
and fantaftical, as never to be per = to our knowledge 
in sa public place, or private c 
- is long- promifed work, with the. title of “ Guida Ar- 
oe. ae ed in nie appeared too late; for though 
there many combinations, seen ogee i cadences, 
that eona open the an and enrich the me of a youn 
ftudent in harmony, he promifed too a yn 
title runs thus; “ Guida Armonica o Dizionario ees 
”) 
co,” being a fure guide, to harmony and’ etn” in 
which are exhibited the various combinations of founds, 
progrefli 
to be ground with little ~~ an 
fenfe and {cience by the La oe in Gulliver's tra- 
vels; and his authority in the. eee was diminifhed by 
new “agli and new performers, as ee as hee ~ own va 
quent change of f{entiment: fetting 
oe - ee what he a “dotpife et en 
at an 
His te "Treatife on Good Tatte, and ae for: Playing i in 
Good Tafte,’’ did not appear till ab 1747, but that 
twas too foon for the prefent times. 
good tafte in drefs, during the reign of qucen Elizabeth, 
would now be as ufeful to a tailor or milliner, as the rules 
of tafte in mufic, forty years ago, t eae mulician. 
ions cadences, real an 
- deceptive.’ It was a kin mill, in a good mufic was 
enius3; as good 
n 1748, he publifhe ed his At of P ying the Vio- 
lin.” which was y ufeful work in its ee the fhifts and 
examples of different difficulties, and ufes of the bow, being 
indeed oral sp le which the nation could boaft, till ‘ie 
arriv. Len of Giardini. 
pees ese called the “ Enchanted Foreft,”’ in which 
tion of 
teenth book of Taffo’s Jerufalem, was publifhed about 1756; 
but mufic has never had ower, without vocal articula- 
tion, to nar r it c2 int, and footh 
a 
ons; but is utterly incapable of reafoning, or con. 
verfing, to any reafonable purpofe. 
Belides thefe pra¢tical and theoretical works, he publifhed 
two books of “harpfichord pieces,’’ that are rendered imprac- 
ticable by crouded harmony and multiplie ed notes; and two 
books upon the * art of accompaniment,”’ which are ean in- 
sE 
telligible 
