Of a quiet contemplative nature, Grillparzer shunned general society. He never married. To a stranger he seemed cold and distant, but in conversation with any one he liked his real disposition revealed itself ; his manner became animated, his eyes brightened, and a sarcastic but not ill-natured smile would play upon his lips. It was one of his sayings that the art of writing poetry can neither be taught nor learned, but he also held that inspiration will not visit a poet who neglects to make himself master of his subject. Hence before writing a play he worked hard, striving to comprehend the spirit of the age he wished to represent. He was exceedingly fond of travel, and at different times visited all the leading European countries. After 1840, when his solitary comedy was rejected by the public, he almost passed from the memory of his contemporaries. Fortunately for him, Heinrich Laube, an admirer of his genius, settled in Vienna in 1849 as artistic director of the court theatre. By and by Laube reintroduced on the stage some of the forgotten works, and their success was immediate and profound. To his own surprise, Grillparzer became the most popular author of the day ; he was ranked with Goethe and Schiller, and lauded as the national poet of Austria. On the eightieth anniversary of his birthday all classes from the court downwards united to do him honour ; never, probably, did Vienna exert herself so much to prove her respect for a private citizen. He died on the 21st January 1872, and was buried with an amount of ceremony that surpassed even the pomp displayed at Klopstock's funeral. A monument of him has recently been erected at Baden, near Vienna.
After his death an admirable edition of his works, in ten volumes, was issued by Heinrich Laube and J. Weilen. There are several English renderings of Sappho, and Medea has also been translated. For biographical and critical notices see Kuh, Zwei Dichter Oesterreichs (Pesth, 1872); Betty Paoli, Grillparzer und seine Werke (Stuttgart, 1875); and Gottschall, “ Franz Grillparzer,” and “ Franz Grillparzers Nachlass,” in Unsere Zeit for 1872 and 1873.
GRIMALDI, Giovanni Francesco (1606-1680), an
architect and painter, named II Bolognese from the place
of his birth, was a relative of the Caracci family, under
whom it is presumed he studied first, and afterwards under
Albano. He went to Rome, and was appointed architect
to Pope Paul V., and patronized by succeeding popes also.
Towards 1648 he was invited to France by Cardinal
Mazarin, and for about two years was employed in buildings
for that minister and for Louis XIV, and in fresco-painting
in the Louvre. His colour was strong, somewhat excessive
in the use of green ; his touch light. He painted at once
history, portraits, and landscape, the last with predilec
tion, especially in his advanced years, and executed en
gravings and etchings from his own landscapes, and from
those of Titian and the Caracci. Returning to Rome, he
was made president of the Academy of St Luke ; and in
that city he died on 28th November 1680, in high repute
not only for his artistic skill but for his upright and charit
able deeds as well. His son Alessandro assisted him both
in painting and in engraving. Paintings by Grimaldi are
preserved in the Quirinal and Vatican palaces, and in the
church of S. Martino a Monti ; there is also a series of
his landscapes in the Colonna Gallery.
GRIMM, Friedrich Melchior, Baron von (1723-1807), the author of the celebrated Correspondence litteraire, was, though a naturalized Frenchman, both of German descent and a native of Germany, having been born of poor parents at Ratisbon, 26th December 1723. He studied at the university of Leipsic, where he had as professor the celebrated Ernesti, to whom he was doubtless in no small degree indebted for his critical appreciation of classical literature. On completing his studies he made his literary debut by a tragedy which was received with ridicule by the audience and by the critics, including Lessing, and which is now forgotten even in Germany. In all probability it was this disappointment which led him to think of seeking his fortune in Paris, whither he accompanied the count of Schonberg as tutor to his sons, and where afterwards, at a small salary, he was for some time reader to the young hereditary prince of Saxe-Gotha. In 1749 he made the acquaintanceship of J. J. Rousseau, which, through a mutual sympathy in regard to musical matters, soon ripened into intimate friendship. Through Rousseau he was introduced to the Encyclopedists, and about the same time he became secretary to Count Friesen, nephew of Marshal Saxe, which gained him admission to the most brilliant society of Paris. Endowed with more than average intellectual abilities, thoroughly versed in all current topics of interest in litera ture, science, and art, gifted with remarkable insight into character, possessing engaging manners and great social tact, and actuated in all his conduct by a keen regard to his own interest, he won almost immediately general appre ciation and respect. He rapidly obtained a thorough knowledge of the French language, and acquired so perfectly the tone and sentiments of the society in which he moved that all marks of his foreign origin and training seemed completely effaced. A wdtty pamphlet entitled Le petit Prophete. de Boehmischbroda, written by him on the respective merits of the Italian and French operas, a subject which at that time greatly exercised the society of Paris and on which he sided with the Italian section, at once firmly established his literary reputation. It is possible that the origin of the pamphlet is partly to be accounted for by his admiration of Mdlle. Fel, the prima donna of the Italian company. This admiration quickly developed into a passion so vehement that he was seized with a kind of catalepsy which continued for several days, but from which he suddenly awoke completely recovered both in body and mind. In 1753 Grimm was engaged by the Abbe 1 Raynal to aid him in conducting his literary correspondence with German sovereigns ; and this opened up to him that sphere for his ambition which perhaps was most in accordance with his peculiar tastes, and in which his abilities best fitted him to excel. Although from the beginning he had the principal share in the work, it was probably conducted until 1759 in the name of the Abbe" Raynal. With the aid of friends during his temporary absences from France, he carried it en until 1790, and it latterly extended to six sovereigns, including the empress of Russia, the king of Sweden, and the king of Poland. It was probably in 1754 that Grimm was introduced by Rousseau to Madame
