502 
v o s s i u s. 
mends him as a portrait-painter; particularly speaking of 
his own portrait in the poor house of Antwerp, painted by 
himself in black, leaning on the back of a chair, with a 
scroll of blue paper in his hand, so highly finished in the 
broad manner of Corregio, that nothing can exceed it. S. 
de Vos was living in 1662. 
VOSCH, a lake of European Russia, in the government 
of Novgorod. 
VOSGES, a great chain of mountains in the east of 
France, extending from north to south, in a line nearly 
parallel to the course of the Rhine, from Bale to Spires. 
The length of the main chain of the Vosges is about 130 
miles; but there is a farther chain or range extending west¬ 
ward into France, traversing the department of the Vosges, 
and ending near Sedan, in the hills and forest land of the 
Ardennes. „ 
VOSGES, a department in the north-east of France, 
formed of a part of Lorraine, and adjoining the departments 
of the Meurthe and Upper Saone. Its extent, equal to two 
of our average sized counties, is about 2400 square miles; 
its population somewhat above 334,000. 
VOSKERENSK, a town of European Russia, in the go¬ 
vernment of Moscow; 36 miles west-north-west of Moscow, 
VOSNESENSK, a small and lately built town of Euro¬ 
pean Russia, on the Bog; 80 miles north-north-west of 
Cherson. 
VOSSIUS (Gerard John), was born near Heidelberg, in 
1577, and perfected himself in the classics, mathematics, 
philosophy, and theology, at Leyden. Availing himself of 
a copious library left him by his father, he became director 
of the college at Dordrecht, where he married twice, and 
had a numerous family. In 1614, he was appointed direc¬ 
tor of the college of Leyden, and afterwards professor of elo¬ 
quence and chronology in the university. By avowing 
himself favourable to the sentiments of the Remonstrants, he 
became obnoxious to the Gomarists, and at the synod in 
Tergou, in 1620, he was deprived of his professorship; but 
in consequence of the prevalence of Arminianism in Eng¬ 
land, he obtained the office of prebend in the church of 
Canterbury. After his return to Holland, he accepted the 
chair of history in the schola illustris of Amsterdam in 1633, 
which he occupied till his death in 1649, at the age of 72. 
The most useful of his writings are two books in Greek and 
Latin poetry. Among his other works are “ De Origine ldo- 
latriae;” “ De Scientiis Mathematicis;” “ De quatuor Arti- 
bus popularibus;” “ Historia Pelagiana ;” “ Institutiones 
Rhetoricse, Grammaticae, Poeticee;” “ Etymologicon Lin- 
uae Latinae;” “ De Vitiis Sermonis;” “ De Philosophorum 
ectis.” A collection of these were printed at Amsterdam, 
in 6 vols. fol. 1695—1701. Moreri. 
This learned and laborious author, in his “ Theologia 
Gentili,” and other works, frequently speaks of music, and 
has a distinct chapter on the subject in his treatise on the 
four popular arts, grammar, gymnastics, music, and paint¬ 
ing. Yet he tells us little concerning ancient or modern 
music after the time of Guido; contenting himself with giv¬ 
ing definitions of the terms used in the ancient music of the 
Greeks. He heaps quotation on quotation, telling us how 
highly the Greeks estimated music; but attempts not to ex¬ 
plain any of their doctrines. Like Mr. Bryant, he tries to 
shake our faith in what antiquity firmly believed. In writing 
“ De Art. Poet. Nat.” cap. xiii., he doubts whether Orpheus, 
Musaeus, or Linus ever existed; and rather thinks that these 
idea! names are derived from the Phoenician language used 
by Cadmus and his descendants. 
VOSSIUS (Isaac), younger son of the preceding, was 
born at Leyden in 1618, and in consequence of his natural 
talents, and the advantage of education under his father, ac¬ 
quired early reputation among the learned. Queen Chris¬ 
tina, prepossessed by report in his favour, invited him to 
her court, and acquired, under his instruction, a knowledge 
of the Greek language. On the death of his father, in 1649, 
he quitted the court of Christina, and employed himself in 
the composition of various learned works. In 1670, he vi¬ 
sited England, and received the degree of LL.D. at Oxford ; 
and in 1673, he was presented by Charles II. with a canonry 
of Windsor, and in this situation he passed the residue of 
his days. His credulity led king Charles to say of him, “ that 
he would believe any thing but the Bible.” When he was 
on his death-bed, he was visited by Dr. Hascard, dean of 
Windsor, who urged him to receive the sacraments, if not 
for the love of God, at least for the honour of the chapter: 
he replied, “ I wish you would instruct me how to compel 
the farmers to pay what they owe me; that is the service I 
desire of you at present.” Thus disposed, he left the world 
iu February, 1688, at the age of seventy. His very valuable 
library was purchased by the university of Leyden. Of his 
numerous publications the most important are the following: 
“ Periplus Scylacis Caryandensis, et Anonymi Reriplus ponti 
Euxini,” Gr. et Lat. cum notis, Amst. 1639, 4to. “ Justini 
Historia cum Notis,” Leyd. 1640; “ Ignatii Epistolce et 
Barnabi Epistola,” Amst. 1646, 4to.; “ Dissertatio de vera 
iEtate Mundi;” “ Pomponius Mela de Situ Orbis,” Hagae, 
Com. 1658 and 1659; “ De Septuaginta Interpretibus 
eorumque Translatione et Chronologia Dissertationes,” 1661, 
in which he attempted to establish the preference of the 
chronology of the Septuagint to that of the Hebrew text; 
which he defended in other tracts; “ De Poematum Cantu 
et Viribus Rhythmi,” Oxon. 1675; “ De Sybillinis aliisque 
quae Christi natalem praecessere Oraculis,” ib. 1679; “ Varia- 
rum Observationum Liber,” Lond. 1685, 4to.; “ Catulli 
Opera cum Comment,” ib. 1684. Moreri. 
He was an enthusiastic and redoubted champion for the 
music of the ancient Greeks, and from his belle Latinite and 
prejudices in its favour, is more frequently quoted by implicit 
believers in its perfection, than any other modern who ha* 
treated the subject. 
Vossius, in his celebrated book, “ De Poematum Cantu et 
Virih. Rhythmi,” published 1675, Oxon., seems more ready 
to grant every possible and impossible excellence to the 
Greek musicians than, when alive, they could have asked. 
None of the poetical fables, or mythological allegories, 
relative to the power and excellence of their music, put 
the least violence upon his credulity. A religious bigot, 
who insists upon our swallowing implicitly every thing, 
however hard of digestion, is less likely to make converts 
to his opinions, than he who puts our faith to few trials; 
and Vossius overcharged his creed so much, that it is of no 
authority. 
He does not attribute the efficacy of the Greek and Roman 
music to the richness of its harmony, or the elegance, the 
spirit, or pathos of its melody, but wholly to the force of 
rhythm. “ As long,” says he, p. 75, “ as music flourished 
in this rhythmical form, so long flourished that power which 
was so adapted to excite and calm the passions.” According 
to this opinion, there was no occasion for mellifluous sounds, 
or lengthened tones; a drum, cymbal, or the violent strokes 
of the Curetes and Salii on their shields, as they would have 
marked the time more articulately, so they would have 
produced more miraculous effects than the sweetest voice, 
or most polished instrument. In another place he tells us, 
that “ to build cities, surround them with walls, to assemble 
or dismiss the people, to celebrate the praises of gods and 
men, to govern fleets and armies, to accompany all the 
functions and ceremonies of peace and war, and to temper 
the human passions, were the original offices of music : in 
short, ancient Greece may be said to have been wholly 
governed by the lyre.” 
It appears from this passage, and from the tenor of hi# 
whole book, that this author will not allow us to doubt of a 
single circumstance, be it ever so marvellous, relative to the 
perfection and power of ancient music; the probable and 
the improbable are equally articles of his belief; so that with 
such a lively faith, it is easy to imagine that he ranks it 
among mortal sins to doubt of the ancients having invented 
and practised counterpoint; and he consequently speaks with 
the highest indignation against the moderns, for daring to 
deny that they were in possession of a simultaneous har¬ 
mony. 
