GUIDO. 350 GUIDO RENI. with the result that he was crowned King at Pavia (889). In 8i)l the Pope phu-ed the Im- perial crown on his head. Guido died in 894. GUIDO. In Ariosto's Orlando Fui-ioso. an ally of the Amazons under Jlarphisa, and the hushand of ten wives of that nation, whom he had heen forced to marry after being wrecked on their coasts. He is surnamed 'the Savage,' and is a doughty chani]ii(in. GUIDO D'AREZZO, da-ret'sS, or GUIDO ARETINO (0.99.5-0.10.30). A famous reformer of nuisio. and a monl; of the Benedictine Order. Xothing is known absolutel.y of his life, the oijly source of information being the frequently contra- dictory traditions of the Middle Ages. He has the reputation of being the inventor of musical nota- tion, and has been styled 'The Regenerator of Music' But the circumstances which led to this invention are differently stated by nearly every narrator. The most plausible and possibly the racist reliable account is that on one occasion, while chanting with the monastery choir a hymn in honor of Saint John, he was struck with the gradual and regularly ascending tones of the opening S3dlable sounds of each hemistich in the first three verses;
- 'Ut queant laxi8
Mi-va, gestoruiu Sol-re polluti iJe-aonare flbris Fa-muli tuorura La-bii reatum," etc. Comprehending the fitness of the.se sounds to his proposed system of solfeggio, he promptly systematized the idea. The fame of Guide's musi- cal invention, and the success he achieved with it, particularly among the youthful choristers of his own monastery, while it gained for him consid- erable ill-will, and subjected him to much jeal- ousy in his own and neighboring monasteries, finally brought him to the attention of the Pope (John XIX.), who invited him to Rome. Guide immediately accepted the invitation, and met with a very gratifying reception. The Pope be- came a student of the new system and did nuich to help the cause. Research and tradition are united in ascrib- ing to him the introduction of the four-line staff, which was a combination of the former red f line and yellow c line, with the addition of a black a line between them, and a black e line above them : the mensural notes being written on the lines and spaces. Extra lines were added either above or below, whenever necessarj'. By this invention a uniformity of pitch was obtained, which in itself marks one of the mo.st important steps in the history of music. Ill health com- pelled Guido to leave Rome, and he reentered the Monastery of Pomposa, where he had spent his younger days. He left many interesting writings explanatory of his musical doctrines, among which may be mentioned the Microlologus and the Arijiimenliim Navi Cantus Inveniendi. See Musical Notation. GUIDO DELLE COLONNE, del'lA ko-lon'na. An Italian poet of the thirteenth century, proba- bly a Sicilian by birth. He wrote Italian poems patterned after Provencal, models, and in Latin a Histnria Trojana, based on Dictys and Dares, and on the twelfth-century Roman de Troie of the French trouveur Benoit. de Sainte Maure. This poem was very popular in the Middle Ages, and, translated into nearly all the tongues of Western Europe, had a great effect on the literature of Italy, France, and England. Caxton's English version of the French translation by Raoul de Fevre was the first printed English book. GUIDO GUINICELLI, gwe'nc-chel'lii. An Italian poet. See Gui.mcelli, Guiuo. GUIDON, gi'don ( older form yuydon. from Fr. guidon, from guider, to guide) . A color or pennon carried by troops of cavalry or batteries of field or horse artillery, broad at one end and forked at the other. It aids in nuiintaining alignments, being placed on the flank on which the guide is indicated. In column formations it is placed at the head of the columns. See Colors, Military. GUIDON DE LA MER, ge'doN' de la mar (Fr., banner of the sea). A celebrated treatise on maritime law, which appeared at Rouen about the year 1071. Notwithstanding the fact that it was of unknown authorship, it rapidly gained a position of great authority, comparable to that of the Consol-ato del Mare (q.v. ), and the Ordon- nance de la Marine (q.v.), promulgated by Louis XIV. of France in 1081. See also Maritime Law; Olebon, Laws of; Rhodes, Law of; WisBY, Laws of. The best edition is that con- tained in Pardessus. Collection de Lois maritimes antrrieures au XVIIIe siecle (Paris, 1828-45). GUIDONIAN (gve-do'ni-an) HAND. A mechanical device for teaching the syllables of solmization (q.v.). Guido of Arezzo distributed the twenty tones of his scale over the linger-tips and joints of the left hand. But as the hand has only nineteen tips and joints, the twentieth tone (which was very seldom used) was assigned to a point above the tip of the middle finger. After the position of the different tones on the hand was once committed to memory, the pupil was enabled to tell any interval or scale by merely glancing at his left hand. GUIDO (gwe'do) OF LUSIGNAN, lu'ze'- nyiix'. See Gi Y of Lu.signan. GUIDO OF SIENA, .se-a'na. A painter of the thirteenth century, about whose work there is much uncertainty. He is important mainly as an immediate predecessor of Cimabue and Giotto, and was slightly superior to his contem- poraries, such as Margaritone and the Berlin- ghieri, and the equal of Giunta Pisano. For the Church of San Domenico, in Siena, he executed a large painting of the "Virgin and Child En- throned," with six angels, signed and dated 1221 (though the date is read by some 1271 or 1281, on account of spaces between the existing numerals). In the general treatment of the pic- ture there is nothing to distinguish it from other works of the same early period ; but the heads of the Virgin and Child are indisputably superior, in natural character and graceful dignity, to any- thing anterior to Cimabue. It is now conceded that the heads were repaiivted in tl»e fourteenth century; thus the claims of Cimabue would re- main undisturbed. Beyond this, little is known of Guido of Siena. There is in the Academy of Siena a picture assigned to him, a half figure of the Virgin and Child, with two angels; also in the Church of San Bernardino, in the same city, a Madonna, dated 1202. Milanesi thinks that the work in San Domenico is due to Guido Graziani, of whom no other records remain earlier than 1278, when he was mentioned as the painter of a banner. GUIDO RENI, ra'ne. An Italian painter of the Bolognebe School. See Reni, Guido.
