[1] The Griquas, as a distinct tribe, numbered at the Cape census of 1904 but 6289. They have largely intermarried with Kaffir and Bechuana tribes.
[2] The order of discovery of the chief mines was:—Dutoitspan, Sept. 1870; Bultfontein, Nov. 1870; De Beers, May 1871; Colesberg Kop (Kimberley), July 1871.
[3] Sir Richard Southey (1809-1901) was the son of one of the emigrants from the west of England to Cape Colony (1820). He organized and commanded a corps of Guides in the Kaffir war of 1834-35, and was with Sir Harry Smith at Boomplaats (1848). From 1864 to 1872 he was colonial secretary at the Cape. He gave up his appointment in Griqualand West in 1875, and lived thereafter in retirement. In 1891 he was created a K.C.M.G.
GRISAILLE, a French term, derived from gris, grey, for painting in monochrome in various shades of grey, particularly used in decoration to represent objects in relief. The frescoes of the roof of the Sistine chapel have portions of the design in grisaille. At Hampton Court the lower part of the decoration of the great staircase by Verrio is in grisaille. The term is also applied to monochrome painting in enamels, and also to stained glass; a fine example of grisaille glass is in the window known as the Five Sisters, at the end of the north transept in York cathedral.
GRISELDA, a heroine of romance. She is said to have been the wife of Walter, marquis of Saluces or Saluzzo, in the 11th century, and her misfortunes were considered to belong to history when they were handled by Boccaccio and Petrarch, although the probability is that Boccaccio borrowed his narrative from a Provençal fabliau. He included it in the recitations of the tenth day (Decamerone), and must have written it about 1350. Petrarch related it in a Latin letter in 1373, and his translation formed the basis of much of the later literature. The letter was printed by Ulrich Zel about 1470, and often subsequently. It was translated into French as La Patience de Griselidis and printed at Bréhan-Loudéac in 1484, and its popularity is shown by the number of early editions quoted by Brunet (Manuel du libraire, s.v. Petrarca). The story was dramatized in 1395, and a Mystère de Griselidis, marquise de Saluses par personnaiges was printed by Jehan Bonfons (no date). Chaucer followed Petrarch’s version in the Canterbury Tales. Ralph Radcliffe, who flourished under Henry VIII., is said to have written a play on the subject, and the story was dramatized by Thomas Dekker, Henry Chettle and W. Haughton in 1603.
An example of the many ballads of Griselda is given in T. Deloney’s Garland of Good Will (1685), and the 17th-century chap-book, The History of Patient Grisel (1619), was edited by H. B. Wheatley (1885) for the Villon Society with a bibliographical and literary introduction.
GRISI, GIULIA (1811-1869), Italian opera-singer, daughter of one of Napoleon’s Italian officers, was born in Milan. She came of a family of musical gifts, her maternal aunt Josephina Grassini (1773-1850) being a favourite opera-singer both on the continent and in London; her mother had also been a singer, and her elder sister Giudetta and her cousin Carlotta were both exceedingly talented. Giulia was trained to a musical career, and made her stage début in 1828. Rossini and Bellini both took an interest in her, and at Milan she was the first Adalgisa in Bellini’s Norma, in which Pasta took the title-part. Grisi appeared in Paris in 1832, as Semiramide in Rossini’s opera, and had a great success; and in 1834 she appeared in London. Her voice was a brilliant dramatic soprano, and her established position as a prima donna continued for thirty years. She was a particularly fine actress, and in London opera her association with such singers as Lablache, Rubini, Tamburini and Mario was long remembered as the palmy days of Italian opera. In 1854 she toured with Mario In America. She had married Count de Melcy in 1836, but this ended in a divorce; and in 1856 she married Mario (q.v.). She died in Berlin on the 29th of November 1869.