GUILLAUME

guillaume, jean baptiste claude eugene (1822-1905), french sculptor, was born at montbard on the 4th of july 1822, and studied under cavelier, millet, and barrias, at the ecole des beaux-arts, which he entered in 1841, and where he gained the _prix de rome_ in 1845 with "theseus finding on a rock his father's sword." he became director of the ecole des beaux-arts in 1864, and director-general of fine arts from 1878 to 1879, when the office was suppressed. many of his works have been bought for public galleries, and his monuments are to be found in the public squares of the chief cities of france. at rheims there is his bronze statue of "colbert," at dijon his "rameau" monument. the luxembourg museum has his "anacreon" (1852), "les gracques" (1853), "faucheur" (1855), and the marble bust of "mgr darboy"; the versailles museum the portrait of "thiers"; the sorbonne library the marble bust of "victor le clerc, doyen de la faculte des lettres." other works of his are at trinity church, st germain l'auxerrois, and the church of st clotilde, paris. guillaume was a prolific writer, principally on sculpture and architecture of the classic period and of the italian renaissance. he was elected member of the academie francaise in 1862, and in 1891 was sent to rome as director of the academie de france in that city. he was also elected an honorary member of the royal academy, london, 1869, on the institution of that class. guillaume de lorris (fl. 1230), the author of the earlier section of the _roman de la rose_, derives his surname from a small town about equidistant from montargis and gien, in the present department of loiret. this and the fact of his authorship may be said to be the only things positively known about him. the rubric of the poem, where his own part finishes, attributes jean de meun's continuation to a period forty years later than william's death and the consequent interruption of the romance. arguing backwards, this death used to be put at about 1260; but jean de meun's own work has recently been dated earlier, and so the composition of the first part has been thrown back to a period before 1240. the author represents himself as having dreamed the dream which furnished the substance of the poem in his twentieth year, and as having set to work to "rhyme it" five years later. the later and longer part of the _roman_ shows signs of greater intellectual vigour and wider knowledge than the earlier and shorter, but guillaume de lorris is to all appearance more original. the great features of his four or five thousand lines are, in the first place, the extraordinary vividness and beauty of his word-pictures, in which for colour, freshness and individuality he has not many rivals except in the greatest masters, and, secondly, the fashion of allegorical presentation, which, hackneyed and wearisome as it afterwards became, was evidently in his time new and striking. there are of course traces of it before, as in some romances, such as those of raoul de houdenc, in the troubadours, and in other writers; but it was unquestionably guillaume de lorris who fixed the style. for an attempt to identify guillaume de lorris see l. jarry, _guillaume de lorris et le testament d'alphonse de poitiers_ (1881). also paulin paris in the _hist. litt. de la france_, vol. xxiii. guillaume de palerme (william of palerne), hero of romance. the french verse romance was written at the desire of a countess yolande, generally identified with yolande, daughter of baldwin iv., count of flanders. the english poem in alliterative verse was written about 1350 by a poet called william, at the desire of humphrey bohun, earl of hereford, (d. 1361). guillaume, a foundling supposed to be of low degree, is brought up at the court of the emperor of rome, and loves his daughter melior who is destined for a greek prince. the lovers flee into the woods disguised in bear-skins. alfonso, who is guillaume's cousin and a spanish prince, has been changed into a wolf by his step-mother's enchantments. he provides food and protection for the fugitives, and guillaume eventually triumphs over alfonso's father, and wins back from him his kingdom. the benevolent werwolf is disenchanted, and marries guillaume's sister. see _guillaume de palerne_, ed. h. michelant (soc. d. anc. textes fr., 1876); _hist. litt. de la france_, xxii. 829; _william of palerme_, ed. sir f. madden (roxburghe club, 1832), and w. w. skeat (e. e. text soc., extra series no. 1, 1867); m. kaluza, in _eng. studien_ (heilbronn, iv. 196). the prose version of the french romance, printed by n. bonfons, passed through several editions. guillaume d'orange (d. 812), also known as guillaume fierabrace, st guillaume de gellone, and the marquis au court nez, was the central figure of the southern cycle of french romance, called by the _trouveres_ the _geste_ of garin de monglane. the cycle of guillaume has more unity than the other great cycles of charlemagne or of doon de mayence, the various poems which compose it forming branches of the main story rather than independent epic poems. there exist numerous cyclic mss. in which there is an attempt at presenting a continuous _histoire poetique_ of guillaume and his family. ms. royal 20 d xi. in the british museum contains eighteen _chansons_ of the cycle. guillaume, son of thierry or theodoric and of alde, daughter of charles martel, was born in the north of france about the middle of the 8th century. he became one of the best soldiers and trusted counsellors of charlemagne, and in 790 was made count of toulouse, when charles's son louis the pious was put under his charge. he subdued the gascons, and defended narbonne against the infidels. in 793 hescham, the successor of abd-al-rahman