library of printed books and manuscripts. Orders for the arrangement, binding and storing of his books in his house at Valladolid take a prominent place in his voluminous correspondence. In 1785 the library was ceded by his descendant and representative the marquis of Malpica to King Charles III., and it is now in the Royal Library at Madrid. A portrait of Gondomar, attributed to Valazquez, was formerly at Stowe. It was mezzotinted by Robert Cooper.
Authorities.—Gondomar’s missions to England are largely dealt with in S. R. Gardiner’s History of England (London, 1883–1884). In Spanish, Don Pascual de Gayangos wrote a useful biographical introduction to a publication of a few of his letters—Cinco Cartas politico-literarias de Don Diego Sarmiento de Acuña, Conde de Gondomar, issued at Madrid 1869 by the Sociedad de Bibliófilos of the Spanish Academy; and there is a life in English by F. H. Lyon (1910). (D. H.)
GONDOPHARES, or Gondophernes, an Indo-Parthian king
who ruled over the Kabul valley and the Punjab. By means
of his coins his accession may be dated with practical certainty
at A.D. 21, and his reign lasted for some thirty years. He is
notable for his association with St Thomas in early Christian
tradition. The legend is that India fell to St Thomas, who
showed unwillingness to start until Christ appeared in a vision
and ordered him to serve King Gondophares and build him a
palace. St Thomas accordingly went to India and suffered
martyrdom there. This legend is not incompatible with what
is known of the chronology of Gondophares’ reign.
GONDWANA, the historical name for a large tract of hilly
country in India which roughly corresponds with the greater
part of the present Central Provinces. It is derived from the
aboriginal tribe of Gonds, who still form the largest element
in the population and who were at one time the ruling power.
From the 12th to as late as the 18th century three or four Gond
dynasties reigned over this region with a degree of civilization
that seems surprising when compared with the existing condition
of the people. They built large walled cities, and accumulated
immense treasures of gold and silver and jewels. On the whole,
they maintained their independence fairly well against the
Mahommedans, being subject only to a nominal submission and
occasional payment of tribute. But when the Mahratta invaders
appeared, soon after the beginning of the 18th century, the Gond
kingdoms offered but a feeble resistance and the aboriginal
population fled for safety to the hills. Gondwana was thus
included in the dominions of the Bhonsla raja of Nagpur, from
whom it finally passed to the British in 1853.
The Gonds, who call themselves Koitur or “highlanders,” are the most numerous tribe of Dravidian race in India. Their total number in 1901 was 2,286,913, of whom nearly two millions were enumerated in the Central Provinces, where they form 20% of the population. They have a language of their own, with many dialects, which is intermediate between the two great Dravidian languages, Tamil and Telugu. It is unwritten and has no literature, except a little provided by the missionaries. More than half the Gonds in the Central Provinces have now abandoned their own dialects, and have adopted Aryan forms of speech. This indicates the extent to which they have become Hinduized. The higher class among them, called Raj Gonds, have been definitely admitted into Hinduism as a pure cultivating caste; but the great majority still retain the animistic beliefs, ceremonial observances and impure customs of food which are common to most of the aboriginal tribes of India.
GONFALON (the late French and Italian form, also found in
other Romanic languages, of gonfanon, which is derived from
the O.H. Ger. gundfano, gund, war, and fano, flag, cf. Mod. Ger.
Fahne, and English “vane”), a banner or standard of the
middle ages. It took the form of a small pennon attached below
the head of a knight’s lance, or when used in religious processions
and ceremonies, or as the banner of a city or state or military
order, it became a many-streamered rectangular ensign,
frequently swinging from a cross-bar attached to a pole. This is
the most frequent use of the word. The title of “gonfalonier,”
the bearer of the gonfalon, was in the middle ages both military
and civil. It was borne by the counts of Vexin, as leaders of the
men of Saint Denis, and when the Vexin was incorporated in the
kingdom of France the title of Gonfalonier de Sant Denis passed
to the kings of France, who thus became the bearers of the
“oriflamme,” as the banner of St Denis was called.
“Gonfalonier” was the title of civic magistrates of various degrees
of authority in many of the city republics of Italy, notably of
Florence, Sienna and Lucca. At Florence the functions of the
office varied. At first the gonfaloniers were the leaders of the
various military divisions of the inhabitants. In 1293 was
created the office of gonfalonier of justice, who carried out the
orders of the signiory. By the end of the 14th century the
gonfalonier was the chief of the signiory. At Lucca he was the
chief magistrate of the republic. At Rome two gonfaloniers
must be distinguished, that of the church and that of the
Roman people; both offices were conferred by the pope. The
first was usually granted to sovereigns, who were bound to
defend the church and lead her armies. The second bore a
standard with the letters S.P.Q.R. on any enterprise undertaken
in the name of the church and the people of Rome, and also at
ceremonies, processions, &c. This was granted by the pope to
distinguished families. Thus the Cesarini held the office till
the end of the 17th century. The Pamphili held it from 1686
till 1764.
GONG (Chinese, gong-gong or tam-tam), a sonorous or musical
instrument of Chinese origin and manufacture, made in the form
of a broad thin disk with a deep rim. Gongs vary in diameter
from about 20 to 40 in., and they are made of bronze containing
a maximum of 22 parts of tin to 78 of copper; but in many cases
the proportion of tin is considerably less. Such an alloy, when
cast and allowed to cool slowly, is excessively brittle, but it can be
tempered and annealed in a peculiar manner. If suddenly cooled
from a cherry-red heat, the alloy becomes so soft that it can be
hammered and worked on the lathe, and afterwards it may be
hardened by re-heating and cooling it slowly. In these properties
it will be observed, the alloy behaves in a manner exactly opposite
to steel, and the Chinese avail themselves of the known peculiarities
for preparing the thin sheets of which gongs are made. They
cool their castings of bronze in water, and after hammering out
the alloy in the soft state, harden the finished gongs by heating
them to a cherry-red and allowing them to cool slowly. These
properties of the alloy long remained a secret, said to have been
first discovered in Europe by Jean Pierre Joseph d’Arcet at the
beginning of the 19th century. Riche and Champion are said
to have succeeded in producing tam-tams having all the qualities
and timbre of the Chinese instruments. The composition of the
alloy of bronze used for making gongs is stated to be as follows:[1]
Copper, 76.52; Tin, 22.43; Lead, 0.62; Zinc, 0.23; Iron, 0.18.
The gong is beaten with a round, hard, leather-covered pad,
fitted on a short stick or handle. It emits a peculiarly sonorous
sound, its complex vibrations bursting into a wave-like succession
of tones, sometimes shrill, sometimes deep. In China and Japan
it is used in religious ceremonies, state processions, marriages
and other festivals; and it is said that the Chinese can modify
its tone variously by particular ways of striking the disk.
The gong has been effectively used in the orchestra to intensify the impression of fear and horror in melodramatic scenes. The tam-tam was first introduced into a western orchestra by François Joseph Gossec in the funeral march composed at the death of Mirabeau in 1791. Gaspard Spontini used it in La Vestale (1807), in the finale of act II., an impressive scene in which the high pontiff pronounces the anathema on the faithless vestal. It was also used in the funeral music played when the remains of Napoleon the Great were brought back to France in 1840. Meyerbeer made use of the instrument in the scene of the resurrection of the three nuns in Robert le diable. Four tam-tams are now used at Bayreuth in Parsifal to reinforce the bell instruments, although there is no indication given in the score (see Parsifal). The tam-tam has been treated from its ethnographical side by Franz Heger.[2] (K. S.)
GÓNGORA Y ARGOTE, LUIS DE (1561–1627), Spanish lyric
poet, was born at Cordova on the 11th of July 1561. His father,
Francisco de Argote, was corregidor of that city; the poet early
adopted the surname of his mother, Leonora de Góngora, who
