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GERVASE OF TILBURY (fl. 1211)

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Originally appearing in Volume V11, Page 908 of the 1911 Encyclopedia Britannica.
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GERVASE OF TILBURY (fl. 1211)  , Anglo-Latin writer of the See also:

late 12th and See also:early 13th centuries, was a kinsman and schoolfellow of See also:Patrick, See also:earl of See also:Salisbury, but lived the See also:life of a scholarly adventurer, wandering from See also:land to land in See also:search of patrons . Before 1177 he was a student and teacher of See also:law at See also:Bologna; in that See also:year he witnessed the See also:meeting of the See also:emperor See also:Frederic I. and See also:Pope See also:Alexander III. at See also:Venice . He may have hoped to win the favour of Frederic, who in the past had found useful See also:instruments among the civilians of Bologna . But Frederic ignored him; his first employer of royal See also:rank was See also:Henry fitz Henry, the See also:young See also:king of See also:England (d . 1183), for whom Gervase wrote a jest-See also:book which is no longer extant . Subsequently we hear of Gervase as a clerk in the See also:household of See also:William of See also:Champagne, See also:cardinal See also:archbishop of See also:Reims (d . 1202) . Here, as he himself confesses, he basely accused of heretical opinions a young girl, who had rejected his advances, with the result that she was burned to See also:death . He cannot have remained many years at Reims; before 1189 he attracted the favour of William II. of See also:Sicily, who had married See also:Joanna, the See also:sister of Henry fitz Henry . William took Gervase into his service and gave him a See also:country-See also:house at See also:Nola . After William's death the See also:kingdom of Sicily offered no attractions to an Englishman . The fortunes of Gervase suffered an See also:eclipse until, some See also:time after 1198, he found employment under the emperor See also:Otto IV., who by descent and See also:political See also:interest was intimately connected with the Plantagenets .

Though a clerk in orders Gervase became See also:

marshal of the kingdom of See also:Arles, and married an heiress of See also:good See also:family . For the delectation of the emperor he wrote, about 1211, his Otia Imperialia in three parts . It is a farrago of See also:history, See also:geography, See also:folklore and political theory—one of those books of table-talk in which the literature of the See also:age abounded . Evidently Gervase coveted but See also:ill deserved a reputation for encyclopaedic learning . The most interesting of his See also:dissertations are contained in the second See also:part of the Otia, where he discusses, among other topics, the theory of the See also:Empire and the geography and history of England . We do not know what became of Gervase after the downfall of Otto IV . But he became a See also:canon; and may perhaps be identified with Gervase, See also:provost of Ebbekesdorf, who died in 1235 . See the Otia Imperialia in G . See also:Leibnitz's Scriptores rerum Brunsvicensium, vols. i. and ii . (See also:Hanover, 1707) ; extracts in J . See also:Stevenson's edition of Coggeshall (Rolls See also:series, 1875) . Of See also:modern accounts the best are those by W .

See also:

Stubbs in his edition of Gervase of See also:Canterbury, vol. i. introd . (Rolls series . 1879), and by R . See also:Pauli in Nachrichten der Gesellschaft der Wissenschaften zu See also:Gottingen (1882) . In the older biographers the Dialogus de scaccario of See also:Richard Fitz See also:Neal (q.v.) is wrongly attributed to Gervase . (H . W . C . D.) GERVEX, See also:HENRI (1852– ), See also:French painter, was See also:born in See also:Paris on the loth of See also:December 1852, and studied See also:painting under See also:Cabanel, Brisset and See also:Fromentin . His early See also:work belonged almost exclusively to the mythological genre which served as an excuse for the painting of the nude—not always in the best of See also:taste; indeed, his " Rolla " of 1878 was rejected by the See also:jury of the See also:Salon pour immoralite . He afterwards devoted himself to representations of modern life and achieved See also:signal success with his " Dr Pean at the Salpetriere," a modernized See also:paraphrase, as it were, of See also:Rembrandt's " See also:Anatomy See also:Lesson." He was en-trusted with several important See also:official paintings and the decoration of public buildings . Among the first are " The See also:Distribution of Awards (1889) at the Palais de 1'Industrie " (now in the See also:Versailles Museum), " The See also:Coronation of See also:Nicolas II." (See also:Moscow, May 14, 1896), " The Mayors' Banquet " (1900), and the portrait See also:group " La Republique Francaise "; and among the second, the See also:ceiling for the Salle See also:des Fetes at the had. de ville, Paris, and the decorative panels painted in See also:conjunction with Blanchon for the mairie of the 19th See also:arrondissement, Paris .

He also painted, with See also:

Alfred See also:Stevens, a See also:panorama, " The History of the See also:Century " (1889) . At the Luxembourg is his painting " See also:Satyrs playing with a Bacchante," as well as the large " Members of the Jury of the Salon " (1885) .

End of Article: GERVASE OF TILBURY (fl. 1211)
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