in Natural History, a very beautiful gem, of a red colour, with an admixture of blue. See Mineralogy Index.

When pure and free from blemishes, it is little inferior in appearance to the oriental ruby, though only of a middle degree of hardness between the sapphire and common crystal. It is found of various sizes, from that of a pin's head to an inch in diameter.

Among lapidaries and jewellers, genuine garnets are known by different names according to their different degrees of colour. 1. The garnet, simply so called, is the finest and most valuable kind, being of a very deep blood-red with a faint admixture of blue. 2. The rock-ruby; a name very improperly given to the garnet when it is of a very strong but not deep red, and has a fairer cast of the blue; this is a very beautiful gem. 3. The forane or ferain garnet; that of a yet brighter red, approaching to the colour of native cinnabar, Garnet cinnabar, with a faint blue tinge. 4. The almandine, a garnet only a little paler than that called the rock ruby.

**Garnet-Colour.** See Colouring of Glass.

To imitate Garnets. The making the counterfeit garnet in patte is done as follows.—Take prepared crystal two ounces, common red-lead six ounces, manganesee 16 grains, zaffre three grains; mix all well, put them into a crucible, cover it with lute, and set it in a potter's kiln for 24 hours. Or take crystal two ounces, minium five ounces and a half, manganesee 15 grains, zaffre four grains; mix them well together; and let all be baked, in a pot well luted, in a potter's kiln 24 hours.

**Garonne,** a large river of France, which taking its rise in the Pyrenean mountains, runs north-west by the city of Thoulouse, divides the provinces of Guienne and Gascogne, and, visiting the city of Bordeaux, falls into the bay of Bilcay, about 60 miles below that city. It has also a communication with the Mediterranean, by means of the royal canal of Louis XIV. The tide flows up this river 20 miles above Bordeaux.

**Garrick, David**, Esq., the great Roscius of his age and country, who for near 40 years shone the brightest luminary in the hemisphere of the stage, was born at the Angel Inn at Hereford, in the year 1716. His father, Captain Peter Garrick, was a French refugee, and had a troop of horse which were then quartered in that city. This rank he maintained in the army for several years, and had a majority at the time of his death; that event, however, prevented him from ever enjoying it. Mr Garrick received the first rudiments of his education at the free-school at Litchfield; which he afterwards completed at Rochester, under the celebrated Mr Collon, since mathematical professor at Cambridge. Dr Johnson and he were fellow-students at the same school; and it is a curious fact, that these two celebrated geniuses came up to London, with the intention of pushing themselves into active life, in the same coach. On the 9th of March 1736, he was entered at the honourable society of Lincoln's Inn. The study of the law, however, he soon quitted; and followed for some time the employment of a wine merchant: but that too disquieting him, he gave way at last to the irresistible bias of his mind, and joined a travelling company of comedians at Ipswich in Suffolk, where he went by the name of Lyddle. Having in this poor school of Apollo got some acquaintance with the dramatic art, he burst at once upon the world, in the year 1740-1, in all the lustre of perfection, at the little theatre in Goodman's Fields, then under the direction of Henry Giffard.

The character he first performed was Richard III., in which, like the sun bursting from behind a cloud, he displayed in the earliest dawn even more than meridian brightness. His excellence dazzled and astonished every one; and the seeing a young man, in no more than his 24th year, and a novice in reality to the stage, reaching at one single step to that height of perfection which maturity of years and long practical experience had not been able to bestow on the then capital performers of the English stage, was a phenomenon that could not but become the object of universal speculation and of as universal admiration. The theatres at the west end of the town were deserted; Garrick, Goodman's Fields, from being the rendezvous of citizens and citizens wives alone, became the resort of all ranks of men; and Mr Garrick continued to act till the close of the season.

Having very advantageous terms offered him for the performing in Dublin during some part of the summer (1741), he went over thither, where he found the same just homage paid to his merit which he had received from his own countrymen. To the service of the latter, however, he esteemed himself more immediately bound; and therefore in the ensuing winter, engaged himself to Mr Fleetwood, then manager of Drury Lane; in which theatre he continued till the year 1745, when he again went over to Ireland, and continued there the whole season, joint manager with Mr Sheridan in the direction and profits of the theatre royal in Smock Alley. From thence he returned to England, and was engaged for the season of 1746 with Mr Rich at Covent Garden. This was his last performance as a hired actor: for in the close of that season, Mr Fleetwood's patent for the management of Drury Lane being expired, and that gentleman having no inclination further to pursue a design by which, from his want of acquaintance with the proper conduct of it, or some other cause, he had considerably impaired his fortune; Mr Garrick, in conjunction with Mr Lacy, purchased the property of that theatre, together with the renovation of the patent; and in the winter of 1747, opened it with the greatest part of Mr Fleetwood's company, and with the great additional strength of Mr Barry, Mrs Pritchard, and Mrs Cibber, from Covent Garden.

Were we to trace Mr Garrick through the several occurrences of his life,—a life so active, so busy, and so full of occurrences as his, we should swell this account to many pages. Suffice it to say, he continued in the unimpeached enjoyment of his fame and unrivalled excellence to the moment of his retirement. His universality of excellence was never once attacked by competition. Tragedy, comedy, and farce, the lover and the hero, the jealous husband who suspects his wife without cause, and the thoughtless lively rake who attacks her without design, were all alike his own. Rage and ridicule, doubt and despair, transport and tenderness, compassion and contempt; love, jealousy, fear, fury, and simplicity; all took in turn possession of his features, while each of them in turn appeared to be the sole possessor of his heart. In the several characters of Lear and Hamlet, Richard, Dorilas, Romeo, and Luigiane; in his Ranger, Bayes, Dragger, Kiteley, Brute, and Benedict, you saw the molecular conformations that your ideas attached to them all. In short, Nature, the mistress from whom alone this great performer borrowed all his lessons, being in herself inexhaustible, this her darling son, marked out for her truest representative, found an unlimited scope for change and diversity in his manner of copying from her various productions. There is one part of theatrical conduct which ought unquestionably to be recorded to Mr Garrick's honour, since the cause of virtue and morality, and the formation of public manners, are considerably dependent upon it; and that is, the zeal with which he aimed to banish from the stage all those plays which carry with them an immoral tendency,