the funeral discourse was preached by Archbishop Manning, his remains were interred with great solemnity in the cemetery of St. Sepulchre at Ford. He was a constant contributor to the Chetham, the Holbein, and the Manx Societies. He edited the Chetham Society's volume for 1864, consisting of ‘Abbott's Journal,’ which gives an account of the apprehension, imprisonment, and release of Richard Abbott, a servant of Caryll, lord Molineux, in 1689–1691. The same volume contains an account of the ‘Tryalls at Manchester’ of Lord Molineux, Sir William Gerard, and others in 1694. For the Manx Society he edited ‘Chronica Regum Manniæ et Insularum, The Chronicle of Man and the Sudreys, from the manuscript codex in the British Museum,’ with historical notes by Peter Andreas Munch, professor of history in the royal university of Christiania. Goss added fresh documents and English translations of the ‘Chronica’ and of the Latin documents; it was prepared for the press by Archbishop Errington, and printed in 2 vols., Douglas, 1874, 8vo. At the time of his death Goss was engaged in collecting materials for a history of the northern bishops, which was to have been printed by the Manx Society. He made large collections for the history of the catholic religion in the north of England during the days of persecution. These collections are mainly drawn from original sources, public and private, and include innumerable transcripts from state papers and manuscripts in the Record Office, the British Museum, and other public offices and libraries, and from the archives of the catholic colleges and convents in England and on the continent.
[Brady's Episcopal Succession, iii. 418; Times, 4 and 10 Oct. 1872; Tablet, 12 Oct. 1872; Weekly Register, 12 Oct. 1872; Gillow's Bibl. Dict.; Gillow's Haydock Papers; Gibson's Lydiate Hall, Introd. pp. ix, x, xliii, 174.]
GOSS, Sir JOHN (1800–1880), musical composer, born at Fareham, Hampshire, on 27 Dec. 1800, was son of Joseph Goss, organist of Fareham. His uncle, John Jeremiah Goss (1770–1817), was an alto singer of distinction, who was a vicar choral of St. Paul's, lay vicar of Westminster Abbey, and a gentleman of the Chapel Royal. Young Goss was elected to the Chapel Royal in 1811, under John Stafford Smith, and remained a chorister for five years. In 1816 he left the Chapel Royal school in the Broad Sanctuary, and went to live with his uncle, becoming a pupil of Thomas Attwood [q. v.] The first composition by him made public, a ‘Negro's Song’ (probably for some play) for three voices and small orchestra, apparently dates from 1819. His only other work for the stage was incidental music to Banim's ‘Sergeant's Wife,’ performed at the English Opera House 20 July 1827. The overture is still preserved in manuscript. Entries in his diary show that as early as 1823 he was composing concerted vocal music. Four glees, an anthem, ‘Forsake me not,’ and two canons are mentioned under that date. One of these canons, 6 in 3, ‘I will always give thanks,’ was published. On 13 Feb. 1824, at a meeting of the Concentores Sodales, a canon, 4 in 2, ‘Cantate Domino,’ and seven new glees by him were sung; the celebrated ‘There is beauty on the mountain’ was among the latter, and the canon was published in the same year (reviewed in the ‘Harmonicon’ December 1824). On 9 Jan. 1825 he was appointed organist to the new church of St. Luke, Chelsea, with a salary of 100l. An overture in F minor, composed in this year, was rehearsed by the Philharmonic orchestra, but not performed until 23 April 1827. Another overture, in E flat, was performed at the Academic concert of 28 May 1827, and a short motet for six voices, ‘Requiem æternam,’ written in memory of the Duke of York, was published in the ‘Harmonicon’ for that year. Of the two orchestral works, that in F minor is said to be the better, that in E flat the more erudite; the composer seems to have known that his talents lay in another direction than that of writing for the orchestra, for an invitation, dated 1833, from the directors of the Philharmonic, asking him to write a new work, was not accepted. Another ‘Requiem,’ in memory of Shield, as well as a ‘Hallelujah’ in canon, is mentioned in the diary for 1829; in 1833 he gained the Gresham prize for his anthem ‘Have mercy upon me’ (dedicated to Attwood), and published his finest glee, ‘Ossian's Hymn to the Sun.’ The first edition of his famous ‘Introduction to Harmony’ was also published in the same year (he had been professor of harmony at the Royal Academy of Music since 1827). Whether from pressure of educational work or from some other cause, he produced no composition of importance for the next nineteen years; he edited the ‘Sacred Minstrel’ (contributing three original songs) and added accompaniments to Moore's ‘Songs from Scripture’ (1837). He was appointed organist to St. Paul's on the death of Attwood in 1838. Three years afterwards he brought out ‘Cathedral Services, Ancient and Modern,’ with Turle, and ‘Chants, Ancient and Modern.’ In the latter first appeared his adaptation from the allegretto of Beethoven's seventh
