after 1401. He was a careful and diligent painter, but in colour
wanting force and fusion. In his frescos he continued the school of
Taddeo Gaddi, but, as compared with Agnolo Gaddi and Spinello, his
painting is lifeless and third-rate. His earliest and most important
work is a series of frescos in the Convent of S. Francesco, Pisa,
dated 1392.--C. & C., Italy, ii. 19; Lübke, Gesch. ital. Mal., i.
151; Vasari, ed. Le Mon., ii. 197, N. 1.
GERINO DA PISTOJA, Umbrian school (1502–29). Vasari says he was a
friend of Pinturicchio, a diligent colourist, and a follower of
Perugino. His Virgin of Succour (1502) in S. Agostino, Borgo S.
Sepolcro, shows that he was a fair copyist of his master when he
painted it. His Madonna and Saints (1509), S. Pietro Maggiore,
Pistoja, is a mixture of Perugino, Pinturicchio, and Raphael. He
grew feeble later; his Madonna and Saints (1529), Uffizi, Florence,
is gray and dull, with none of his early richness of tint.--C. & C.,
Italy, iii. 349; Ch. Blanc, École ombrienne; Vasari, ed. Le Mon., v.
276.
GERMANICUS, TRIUMPH OF, Karl von _Piloty_, Munich Gallery; canvas,
H. 17 ft. 8 in. × 24 ft. 6 in. Triumphal entry into Rome accorded by
Tiberius to Germanicus, A.D. 17, after his victory over the Germans
on the Elbe, in which he recovered the eagles lost by Varus (Tac.
An., ii. 41). Thusnelda, wife of Arminius, leading by the hand her
little boy Thumelicus, walks in the procession, while Segestes, her
father, through whose treachery she had fallen into the hands of the
Romans, sits near Germanicus as an ally. Painted in 1873; sold for
35,000 florins. Replica, Mrs. A. T. Stewart, New York.--Art Treas. of
Amer., i. 26.
[Illustration: Bust]
[Illustration: Signature]
GÉRÔME, JEAN LÉON, born in Vesoul, May 11, 1824. History and genre
painter, pupil of Paul Delaroche, whom he accompanied to Rome, and
of Gleyre after his return from Italy. Failed to obtain the prix
de Rome, but obtained a 3d class medal for his _Cock_ Fight in
1847, and increased his reputation by his Anacreon in the following
year. Then visited Russia, where he painted a successful picture
of Russian Musicians, and Egypt, whence he brought back valuable
material afterwards treated (1857). Since this period he has painted
a variety of subjects ancient and modern, which have gained him a
place as one of the best-known modern French painters. Gérôme has
also exhibited several sculptured groups, and has executed mural
paintings for the city of Paris, among them the Plague at Marseilles
in St. Séverin. Medals: 3d class, 1847; 2d class, 1848, 1855; of
honour, 1867, 1874, 1878; for sculpture, 1878; L. of Honour, 1855;
Officer, 1867; Commander, 1878; Member of Institute, 1865. Professor
in École des Beaux Arts, 1863. Works: _Cock_ Fight (1847), Luxembourg
Museum; Madonna and St. John (1848); Anacreon with Bacchus and Cupid
(1848), Toulouse Museum; Bacchus and Cupid Intoxicated (1850),
Bordeaux Museum; Greek Interior, Souvenir of Italy (1851); View of
Pæstum (1852); An Idyl (1853); Russian Concert, Age of Augustus
(1855), Amiens Museum; Egyptian Recruits crossing the Desert,
Memnon and Sesostris, Camels at Watering-Place (1857); Gladiators
saluting Cæsar, King _Candaules_ (1859); _Phryne_ before the
Tribunal, Alcibiades in House of Aspasia, Rembrandt Etching (1861);
Prisoner (1863), Nantes Museum; Reception of Siamese Ambassadors at
Fontainebleau, Prayer (1865); Cleopatra and Cæsar, Door of Mosque
of El Hacamyn (1866); Slave Market, Clothing Merchant, Death of
Cæsar (1867); Seventh of December, 1815 (1868); Jerusalem, Cairo
Pedlar, Promenade of the Harem (1869); _Rex_ Tibicen, Santon at the
Door of a Mosque, Women at the Bath (1876); St. Jerome, Turkish
Bath, Bashi-Bazouks Dancing, Return from the Chase (1878); Slave
Market in Rome, Night in the Desert, _Danse_ du Baton (1884); Great
Bath at Brusa (1885). Works in United States: Female Figure, T. A.
Havemeyer, New York; Abyssinian Chief, Sheik at Devotions--Ancient
Mosque in Cairo, Miss C. L. Wolfe, ib.; Slave Market, A. Belmont,
ib.; _Eminence_ Grise (1874), _Molière_ Breakfasting with Louis
XIV., J. H. Stebbins, ib.; Arabs in Desert, W. Rockefeller, ib.;
Death of _Cæsar_ (1867), J. J. Astor, ib.; After the _Bath_, William
Astor, ib.; Prayer in the Desert, I. Corse, ib.; Bull-Fighter, Guard
of Louis XIV., T. R. Butler, ib.; Snake-Charmer, Albert Spencer,
ib.; Arab Seated, Mrs. Paran Stevens, ib.; Crucifixion, Frank Work,
New York; Bonaparte in Egypt, Call to Prayer, R. L. Kennedy, ib.;
Pifferari in London, J. C. Runkle, ib.; Muezzin’s Call to Prayer, J.
W. Drexel, ib.; _Dante_ at Ravenna, M. K. Jesup, ib.; Runners of the
Pasha, R. L. Stuart, ib.; _Cleopatra_ before Cæsar (1866), Diogenes,
D. O. Mills, ib.; Woman of Syria, C. P. Huntington, ib.; Street
Scene in Cairo, Playing Chess, C. S. Smith, ib.; Turkish Butcher-Boy
(1863), Dance of the _Almeh_ (1864), J. Hoey, ib.; Louis XIV. and
the Grand Condé, Asking Alms in a Mosque, Sword Dance, Bashi-Bazouk,
W. H. Vanderbilt, ib.; Une Collaboration, _Circus_ Maximus,
_Gladiators_, Mrs. A. T. Stewart, ib.; Syrian Shepherd, H. Probasco,
Cincinnati; Circassian Girl, H. V. Newcomb, New York; Oriental Woman,
Leland Stanford, San Francisco; Sword Dance in the Café, C. Crocker,
ib.; Arnaut Soldier, Mrs. W. P. Wilstach, Philadelphia; Almehs
playing Checkers, Mrs. T. A. Scott, ib.; Old Clothes Dealer in Cairo,
H. C. Gibson, Philadelphia; On the Desert, Diogenes (1860), Christian
_Martyrs_ (1883), _Duel_ after the Masquerade (1857), W. T. Walters,
Baltimore; Cæsar Dead, Corcoran Gallery, Washington.--Claretie,
Peintres (1884), ii. 57; Meyer, Gesch., 676; Montrosier, Artistes
modernes; Gaz. des B. Arts (1868), xxiv. 147; (1876), xiv. 218, 334;
Portfolio (1875), 82; Hamerton, French Painters.
GERRIT VAN HAARLEM. See _Geertgen_ van Sint-Jans.
GERRY, SAMUEL L., born in Boston in 1813. Landscape and genre
painter, self-taught; has travelled and studied nature in Europe,
especially in France, Switzerland, and Italy; studio in Boston. One
of foundation members and early president of the Boston Art Club.
Works: Land of Beulah; Over the River; Bridal Tour of John and
Priscilla Alden; Artist’s Dream; American Tourists; Pasture Gate.
GERTNER, JOHAN VILHELM, born at Nyboder, Copenhagen, May 10, 1818,
died in Copenhagen, March 29, 1871. Genre and portrait painter,
pupil of Copenhagen Academy, painted at first also landscapes and
interiors. Member of Copenhagen Academy in 1850; professor. Medal
in 1843. Works: Thorvaldsen’s Studio at Charlottenborg (1836),
Shepherd driving his Flock (1838), Portrait of his Mother (1846),
Copenhagen Gallery; Portraits of Thorvaldsen (1840), Provost Trydes
(1843), Dahl, Eckersberg (1850), Count Moltke, Banker Gedalia (1859),
King Frederik VII. (1861), Count Frys von Frysenberg; The Two
Friends.--Weilbach, 200.
GERUNG, MATTHIAS, born at Nördlingen, Bavaria, flourished in Neuburg,
Lauingen, and Augsburg about middle of 16th century. German school;
history painter, perhaps pupil of Hans Burgkmair the younger. Works:
Camp of Charles V. near Lauingen (1551), Town Hall, Lauingen; Story
of Paris, Destruction of Troy (1540); St. Lawrence, St. Cyriacus,
Städel Gallery, Frankfort; Justicia dormit (1543), Carlsruhe Gallery;
Series of Scenes from the Apocalypse (1544).--Allgem. d. Biogr., ix.
75; Kunstblatt (1841), 430; (1851), 431; Nagler, Mon., iv. 569, 573;
Zeitschr. f. b. K., iv. 359.
[Illustration: Bust]
GERVEX, HENRI, born in Paris in 1848. History and genre painter,
pupil of Cabanel, Brisset, and Fromentin. Medals: 2d class, 1874,
1876. Works: Satyr playing with a Bacchante (1874), Luxembourg
Museum; Diana and Endymion (1875); Autopsy in the Hospital, In the
Woods (1876); Communion at Church of Trinity, My Friend Brispot
(1877); Return from the Ball (1879); Souvenir of the 4th of December
(1880); Civil Marriage (1881), Mayor’s Office of 19th District,
Paris; Reservoir of La Villette (1882); The Department of Charities
(1883); First Communion (1884); Meeting of the Jury on Painting
(1885).
[Illustration: Bust]
GESELSCHAP, EDUARD, born in Amsterdam, March 22, 1814, died in
Düsseldorf, Jan. 5, 1878. Genre painter, pupil in Wesel of Welsch,
then in 1834–41 of Düsseldorf Academy under Schadow. First painted
romantic genre and history, afterwards scenes of domestic life, with
great poetic charm, and soon ranked among the foremost artists of
Düsseldorf. Member of Amsterdam Academy. Works: Faust in his Study
(1839); Fiancée at Grave of her Lover (1840); Götz von Berlichingen
before Council of Heilbronn (1842); Death of Valentine (1844); Romeo
and Juliet (1845); Entombment (1846); Herodias with Head of St. John
(1847); Adoration of Magi, Finding of Body of Gustavus Adolphus
(1848); Night Camp of Wallenstein’s Soldiers in Old Church (1849);
Christmas Presents (1850); St. Nicholas’ Eve (1852); Grandmother’s
Bible, Children’s Bath on Saturday, Old Woman at Spinning Wheel,
Grandfather rocking Grandson to Sleep; St. Martin’s Eve (1862),
Kunsthalle, Hamburg; Singing School (1867), Musical Evening Party
(1867), Maternal Joy (1868), Cologne Museum; Christmas Morn,
Stockholm Museum; Endangered Meal, Stettin Museum; Mother’s Birthday;
Evening Service.--Allgem. d. Biogr., ix. 86; Kunst-Chronik, xiii.
258; Wolfg. Müller, Düsseldorfer Kstl., 272; Wiegmann, 304.
GESSI, FRANCESCO, born in Bologna, Jan. 20, 1588, died in 1649.
Bolognese school; pupil of Calvaert and of Cremonini; afterwards of
Guido, whose assistant he was, together with Sementi, in his great
works in Ravenna, Naples, and Mantua. Some of his earlier pictures
nearly approach the excellence of his master, but his facility of
execution led him to abuse his talents, and his later works show the
coldness of a mannerist. He had a well-attended school at Bologna.
Many of his pictures are in Bologna, _e.g._, St. Francis receiving
the Stigmata, Madonna, Christ praying to the East, Holy Family and
Angels, St. Bonaventura, Madonna with Angels, in the Pinacoteca;
Martyrdom of St. Catharine, in S. Caterina; Madonna and Saints, in
S. M. della Carità; St. Francis at the Nunziata. Other works: St.
Francis, Estense Gallery, Modena; Cupid, Madrid Museum; Madonna with
Saints, Brera, Milan; Morpheus appearing to Halcyon, Vienna Museum;
Magdalen, Dresden Museum; Diana and Actæon, Stuttgart Gallery;
Infant Christ, Christ crowned with Thorns, Stockholm Museum.--Ch.
Blanc, École bolonaise; Burckhardt, 764; Gualandi, Guida, 117, 135;
Malvasia, ii. 243; Lanzi, iii. 97.
GESSNER, SALOMON, born in Zürich, April 1, 1730, died there, March
2, 1788. German school. Well-known Swiss poet. Landscape painter,
self-taught; began to paint in Berlin, where he was sent in 1749
to learn the book trade. Later in Hamburg, and on his return home,
he devoted himself alternately to poetry and painting, and to the
latter art exclusively after 1765. Works: Well in the Woods, Dreamer,
Arcadian Well, Fisherman, Zürich Gallery. His son, Konrad, painted
with some reputation in England and Scotland. Works: Cavalry Skirmish
(2), View in Park (2), Driving up Hill, Horses Grazing, Zürich
Gallery.--Allgem. d. Biogr., ix. 122; Kugler (Crowe), ii. 566.
GETTYSBURG, BATTLE OF, Peter F. _Rothermel_, Memorial Hall, Fairmount
Park, Philadelphia; canvas, H. 19 ft. × 33 ft. Painted in 1871 for
State of Pennsylvania; $25,000.--Art Journal (1872), 20.
GEYER, ALEXIUS, born in Berlin in 1826, died there, July 16, 1883.
Landscape painter, pupil of Berlin, Munich, and Dresden Academies;
studied then several years in Rome and Paris, and travelled for
ten years through Italy, Greece, the East, and the greater part of
Germany, Switzerland, Belgium, and Holland. Works: Ten pictures for
King Frederick William IV.; Series for Archæological Museum in Rome;
Cyclorama of the Bosphorus; do. of the Nile; Termini; Civita Lavigna;
View in Volsker Mountains; Palermo; Arabian Landscape.--Brockhaus,
viii. 7; Müller, 203.
GEYER, JOHANN, born at Augsburg, Jan. 1, 1807, died there, Nov. 26,
1875. Genre painter, pupil of Augsburg art-school and of Munich
Academy under Clemens Zimmermann; visited France and Belgium, and was
from 1833 until 1865 professor at the Polytechnic School in Augsburg.
Treated rococo genre scenes with exquisite humour, and represented
stuffs, especially satin, with great skill. Works: Consilium Medicum,
End of Masked Ball, Physician feeling Lady’s Pulse, New Pinakothek,
Munich; Concert Rehearsal; Christening Feast, Menagerie (1835),
Leipsic Museum; Frightened Watchman; Quarrelling Ministrants;
Capuchin’s Sermon in Wallenstein’s Camp; Council of Augsburg
receiving Louis the Bavarian (1844), Town Hall, Augsburg; Painter
and Doorkeeper (1846); Fornarina in Raphael’s Studio; Reception of a
Prince in Small Town, Hanover Gallery; Charles V. in Titian’s Studio
(1850); Betrothal (1852); Anteroom of a Prince (1856); Opening of
Will (1857), Seizure of a Patrician (1863), Bremen Gallery; Götz
von Berlichingen (1859), Erfurt Gallery; Duke of Alva at Castle
Rudolstadt, Prague Gallery.--Brockhaus, viii. 7; Kunst-Chronik, xi.
193.
GEYLING, RUDOLF, born in Vienna in 1840. Genre painter, pupil of
Vienna Academy under Ruben and Wurzinger; spent some time in Italy,
and settled in Vienna. Works: Homeward Journey with Siegfried’s Body
(1868); Playing Amorettes; Florentine Girl; Interior of Peasant’s
Yard; Interior of Convent; Sacrilegists, Vienna Academy; Peasant
Woman in Studio; Labor in Vain; View in Siena.--Müller, 204;
Zeitschr., xiii. 375.
GHENT, JUSTUS OF. See _Justus_ of Ghent.
GHERARDO DALLE NOTTI. See _Honthorst_.
GHERINGH, ANTON, died at Antwerp in 1668. Flemish school;
architecture painter, master of the guild at Antwerp in 1662. Works:
Church Interior (1664), Dresden Museum; Interior of Jesuit Church at
Antwerp (1663), Old Pinakothek, Munich; do. (1665), Vienna Museum;
do., Madrid Museum.--Rooses (Reber), 435; Van den Branden, 1035.
GHIRLANDAJO, BENEDETTO BIGORDI called, born in Florence in 1458,
died there, July 17, 1497. Florentine school. Brother of Domenico
Ghirlandajo, for whom he chiefly worked during the great painter’s
lifetime. To this mediocre painter, who lived several years in
France, and was richly recompensed by the king, are ascribed a
Resurrection, Berlin Museum; St. Lucy, in S. M. Novella, Florence;
and a Christ on the way to Golgotha, Louvre.--C. & C., Italy, iii.
518; Vasari, ed. Le Mon., xi. 284.
GHIRLANDAJO, DAVID BIGORDI called, born in Florence, March 14,
1452, died there in 1525. Florentine school. Brother of Domenico
and Benedetto; master in guild of Florence when Domenico died. He
was a mere mechanical workman, with little talent, but superior to
Benedetto. Employed himself chiefly with mosaics. David assisted his
nephew Ridolfo in painting the Madonna della Misericordia, S. Felice,
Florence.--C. & C., Italy, iii. 520; Burckhardt, 639.
[Illustration: Bust]
GHIRLANDAJO, DOMENICO, born in Florence in 1449, died there, Jan.
11, 1494. Florentine school. Real name Domenico di Tommaso Curradi
di Dosso Bigordi; took his surname from his father, a goldsmith, who
was called Ghirlandajo (garland-maker) from the wreaths of gold and
silver, worn as head-ornaments, which he made. Domenico’s earliest
recorded works were painted about 1480, before which he had perhaps
received instruction from Alesso Baldovinetti, and had learned much
by studying the masterpieces of Masaccio at the Carmine. He began
his career by decorating the Vespucci chapel in the Ogni Santi,
Florence, with a series of frescos, now destroyed, of whose quality
a St. Jerome in the church and a _Last_ Supper in the refectory
give no very high idea. In those representing the Apotheosis of St.
Zanobius, the Madonna, and several Roman heroes afterwards executed
in 1481 in the Sala dell’ Orologio, Palazzo Vecchio, the style is
still unformed, though advance in technic is manifest. Called to Rome
by Sixtus IV. in 1482, Ghirlandajo painted the Calling of Peter and
Andrew upon the walls of the Sistine Chapel (finished before 1484),
in which he showed himself a follower of Masaccio in composition. The
dignity of the Saviour, the somewhat formal though varied grouping
of the attendant figures, and the vast landscape which fills the
background combine to form an impressive and effective picture. In
his next work, the frescos in the Chapel of S. Fina, San Gemignano
(before 1485), Ghirlandajo manifested a hitherto unrevealed grace
and tenderness, especially in that which represents the body of the
Saint lying on a bier. After painting a _Last_ Supper in the Convent
of S. Marco, Florence, which is little varied from his first in the
Ogni Santi, Ghirlandajo executed the frescos of the Life of St.
Francis (1485) in the Sassetti Chapel, S. Trinità, Florence, in which
he gave the whole measure of his admirable powers. Here landscape
and architectural backgrounds with local features are used to set
off groups of figures conceived in a spirit of noble realism; the
compositions are formed in the spirit of Masaccio; the heads, many
of them portraits, are drawn with the accurate and faithful pencil
of a Holbein. In the portraits of the donors, Francesco Sassetti and
his wife Nava, Ghirlandajo equalled the great German master in truth,
in character, and in modelling. The altarpiece of this chapel, an
Adoration of the _Shepherds_ (1485), is now in the Florence Academy.
Even more important than the frescos at S. Trinità are those of the
Life of the _Virgin_ (1490) in the choir of S. M. Novella. Among
them, the Birth of the Virgin is a typical example of Ghirlandajo’s
style. Of the former altarpiece of this chapel, the Munich Gallery
possesses the Madonna appearing to St. Dominic and other Saints,
together with side panels of Saints Catherine and Laurence; and the
Berlin Museum the Resurrection of Christ and Saints. Other works by
Ghirlandajo are, a Madonna with Saints, and a predella, sacristy of
S. Martino, Lucca; _Madonna_ with Saints and Adoration of the _Magi_
(1487), Adoration of _Shepherds_ (1485, Uffizi), Florence; _Madonna_
with Saints, Academy, ib.; Adoration of the _Magi_ (1488), Chapel
of the Hospital of the Innocenti, ib.; _Christ_ in Glory, Palazzo
Publico, Volterra; _Visitation_ (1491), Louvre; St. Anthony, New York
Museum.--C. & C., Italy, ii. 459; Vasari, ed. Mil., iii. 253, 279;
Dohme, 2i.
[Illustration: Bust]
GHIRLANDAJO, RIDOLFO BIGORDI called, born in Florence, Feb. 14,
1483, died there in 1561. Florentine school; son of Domenico;
brought up under guardianship of his uncle, David. Vasari says he
studied under Fra Bartolommeo, but he was probably most indebted for
guidance in art to Granacci, Piero di Cosimo, and perhaps Rosselli.
His Procession of Christ and the Marys to Calvary, in Palazzo
Antinori a S. Gaetano, Florence, and his Coronation of the Virgin
(1504), Louvre, are among his earliest works. Later works show the
influence of Fra Bartolommeo and of Raphael, as the Nativity, Berlin
Museum; Nativity, Eszterhazy Collection, Vienna; and a predella in
the Oratory of Bigallo, Florence. Raphael had great esteem for his
talent, and vainly tried to persuade him to join him in Rome in 1508,
as Ridolfo was satisfied with his success in Florence. His skill
reached its highest point in his richly-coloured, well-composed, and
expressive St. _Zanobius_ raising a Dead Child, and the Burial of St.
_Zanobius_, Uffizi, Florence. His Madonna dropping her Girdle to St.
Thomas is in the church at Prato, and M. della Misericordia in S.
Felice, Florence. Ridolfo became the most noted painter of his time
in Florence, where he executed many commissions for the Medici.--C. &
C., Italy, iii. 518; Vasari, ed. Le Mon., xi. 284; Marchesi, ii. 141;
Ch. Blanc, École florentine.
GHISOLFI (Grisolfi), GIOVANNI, born in Milan in 1632, died there
in 1683. Roman school; architecture, landscape, and history
painter, pupil in Rome of Salvator Rosa; esteemed as a painter of
architecture, he devoted himself after his return to Milan to large
histories and altarpieces, and executed frescos for the Certosa of
Pavia and the Santuario of Varese. Works: Ruins of Carthage, Ruins of
Splendid Buildings, Ships in a Seaport, Dresden Museum; Ruins (2),
National Gallery, Edinburgh.
GIACOMELLI, HECTOR, born in Paris of foreign parents; contemporary.
Bird and flower painter in water-colours. L. of Honour, 1878. Works:
Birds and Flowers (1878, 1879); Wounded (1879); Perch in a Cage,
Farniente (1883).
GIACOMOTTI, FÉLIX HENRI, born at Quingey (Doubs), Nov. 18, 1828.
French school; genre and portrait painter, pupil of Picot and the
École des Beaux Arts; won the grand prix de Rome in 1854. In 1859 he
sent to the Salon his portraits of Edmond About and of Jules David.
His pictures have a certain elegance of style and are agreeable in
colour. Medals in 1864, 1865, and 1866; L. of Honour, 1867. Works:
Martyrdom of St. Hippolytus, Nymph and Satyr (1861), Besançon Museum;
Love quenching his Thirst (1863); Agrippina leaving the Camp (1864),
Lille Museum; Abduction of Amymone (1865), Luxembourg Museum; Christ
blessing Little Children (1867); Carmela’s Last Pin (1868); Pentecost
(1870); Cupid and Venus (1873); Calvary, The Cemetery (1875); Sonnino
(1876); Night (1877); Christ among the Doctors, Christ blessing the
Children, Descent of the Holy Ghost, St. Étienne du Mont, Paris;
Portraits of Generals Marulaz and Morand, Hôtel de Ville, Besançon;
Portrait of Chancellor d’Aguesseau, Palais de Justice, Paris; La
Giottina (1879); Centaur and Nymph (1880); Innocence (1884).--Bellier
de la Chavignerie, i. 643; Larousse.
GIAMBONO, MICHELE, Venetian school, middle of 15th century. A
humble follower in the path of Jacobello del Fiore, but showing an
improvement in technical handling, due to the study of Gentile da
Fabriano and of Pisanello. Giambono treated mosaic with more skill
than painting.--C. & C., N. Italy, i. 13; Lermolieff, 395.
GIANNICOLA BITTI. See _Manni_.
GIANNUZZI, GIULIO PIPPI DE’. See _Giulio_ Romano.
GIBERT, JEAN BAPTISTE ADOLPHE, born at Pointe à Pitre, Guadeloupe,
January 24, 1803. Landscape painter, pupil in Paris of Guillon-
Lethière and of the École des Beaux Arts; obtained in 1829 the
grand prix de Rome, in which city he settled. Works: Forest of
Nettuno; Battle of Eckmühl, Versailles Museum; Calydonian Boar-Hunt;
Banks of the Teverone (1850); Acropolis of Athens (1853); View in
Pontine Swamps (1855), Avignon Museum; View of Ardea (1859); View of
Abu Mandur in Egypt (1863); View from Terrace of French Academy in
Rome (1872); Views in Sicily.
GIBRALTAR, SIEGE OF, John Singleton _Copley_, Guildhall, London;
canvas. Scene: the repulse of the Spanish floating batteries; the
firing has partly ceased, and the English officers are endeavouring
to rescue the sufferers from the burning vessels. Painted in 1789–90
for Court of Common Council of City of London. Study (4 ft. 4 in. × 6
ft. 2 in.) in National Gallery; engraved by William Sharp.--Cat. Nat.
Gal.