painter, pupil of Delaroche and Cogniet. Usually paints scenes from
life in Italian monasteries. Medals: 3d class, 1861; Medal, 1865,
1866; L. of Honour, 1866. Works: Condemnation of Cinq Mars (1855);
Raising of Youth at Nain (1857); Sully leaving the Court of Louis
XIII. (1863), Angers Museum; Farewell to the Convent (1864), Amiens
Museum; Neapolitan Singer (1864); Studious Monks (1865), Alençon
Museum; Pius IX. visiting a Convent; Practising a Musical Mass
(1866), Roubaix Museum; School; Letter of Recommendation, Coligny
visited by Charles IX., Two Bad Acquaintances, Cooper’s Shop (1874);
Indiscreet Confidence, Another Glass! (1875); Charles IX. forced to
sign the Order for the Massacre of the Huguenots (1876); Interior of
St. Mark’s in Venice, Louis XI. surprised by his Fool when at Prayer
(1877); Young Invalid (1878); Othello narrating his Adventures,
Father Fiorista (1879); Marie Antoinette in the Conciergerie
(1880); Cavalier and Maid-Servant, Interior of a Monastery in Nice
(1881); Mazarin receiving a Messenger (1882); The Importunate
Person, Visitors to the Palace of Fontainebleau (1883); Take Care!
Checkmate (1884); No Jesting with edged Tools (1885).--Bellier de la
Chavignerie, i. 645.
GIERYMSKI, MAX, born at Warsaw, Oct. 15, 1846, died at Reichenhall,
Bavaria, Sept. 16, 1874. Landscape and genre painter, pupil of
Munich Academy under Alexander Wagner, then of Franz Adam, and later
led to landscape by Eduard Schleich. A visit to Posen in 1872,
to Meran in 1873, and to Rome in the winter of 1873–4, failed to
restore his health, broken by privations undergone in Poland during
the insurrection, in which he took part in 1863, with the rank
of officer. Honorary member of the Berlin Academy. Works: Return
without the Master, Attack of Cossacks, Funeral in Polish Town
(1868); Alarm-Shot, Reconnoitring, Spinning-Room in Poland, Duel on
Horseback, The Train is Coming, Light-Horse Marching (1869); Return
from the Chase, Spring Promenade (1870); Meeting before the Chase, On
the Vistula, After the first Ball, Starting for the Chase, Hunting
Scene (1871); Night Scene, Country Road in Poland, Ride through
Beech-Grove, Polish Village Street, In front of Polish Inn (1872);
Morning in Polish Camp, Moonlight Scene, Advance Guard Alarmed,
Cossacks on the March (1873); Stag-Hunt in Eighteenth Century
(1874), National Gallery, Berlin.--Allgem. d. Biogr., ix. 150;
Allgem. Zeitg., Aug. 27, 1872, Beilage, 240; Dioskuren (1874), 357;
Kunst-Chronik, vi. 7; x. 440.
GIESSMANN, FRIEDRICH, born in Leipsic, Dec. 31, 1810, died in
Munich, Sept. 27, 1847. History painter, pupil of Dresden and Munich
Academies, in the latter under Julius Schnorr, from whose cartoons
he painted five great compositions in the new Royal Palace. Works:
Scenes from Life of Charlemagne, Rudolph von Hapsburg, and Frederick
Barbarossa, and 4 other pictures, Royal Palace, Munich; Prodigal
Son.--Allgem. d. Biogr., ix. 166.
GIFFORD, FANNIE ELLIOT, born in New Bedford, Mass., in 1844.
Landscape and bird painter; wife of Robert Swain Gifford; studied at
the Cooper Institute schools, New York, and under Samuel Gerry of
Boston. Studio in New York.
[Illustration: Bust]
GIFFORD, ROBERT SWAIN, born on the Island of Naushon, Gosnold,
Mass., Dec. 23, 1840. Landscape painter and etcher; studied in New
Bedford under Albert van Beest, marine painter, in 1864, and settled
in New York in 1866; made sketching tours in California and Oregon
in 1869, and in Europe and North Africa in 1870–71, and again in
1874–75. Began to paint in water-colours in 1865, and soon became a
prominent member of the Water Colour Society. Elected an A.N.A. in
1870, and N.A. in 1878. Works in oil: Scene at Manchester (1867);
Mount Hood--Oregon (1870); Entrance to Moorish House--Tangier,
View of the Golden Horn (1873); Halting for Water, Passenger Boats
on Nile (1874); Booth in Algeria, Rossetti Garden--Cairo (1875);
Freight Boat on Nile, Egyptian Caravan (1876); Border of the Desert
(1877); Dartmouth Moors (1878); Salters Beach (1879); Coast of New
England (1880); Hillside, Old Fields (1881); Nonquitt Cliff (1882);
Near Zaandam--Holland, Salt Marshes (1883); Point Road, Zuyder-Zee
(1884); On the Paskamansett, Shores of Buzzard’s Bay, Salt Mills at
Dartmouth (1885). Water-colours: Deserted Whaler (1867); Autumn on
the Sea-shore (1868); Return from Philæ--Egypt (1871); Low Tide, Old
Fort (1874); Venetian Companion, Guérande (1876); Evening in the
Sahara, Scene on the Campagna, Oasis of Filiarch--Algeria (1877); On
the Lagoon--Venice (1878).--Am. Art Rev. (1880), 417.
[Illustration: Bust]
GIFFORD, SANDFORD ROBINSON, born at Greenfield, N.Y., July 10, 1823,
died in New York, Aug. 29, 1880. Landscape painter, graduate of
Brown University in 1842; in 1844 went to New York, and became pupil
of J. R. Smith and of the National Academy. Elected an A.N.A. in
1851, and N.A. in 1854. In 1855–57 studied in Paris and Rome, and
sketched in different parts of Europe; in 1868–69 sketched in Italy,
Greece, Syria, and Egypt, and in 1870 in the Rocky Mountains. Works:
Kauterskill Clove, Twilight (1859); Bivouac of the 7th Regiment
at Arlington Heights (1861); Shrewsbury River (1868); San Giorgio
(1869); Fishing-Boats on the Adriatic, Charles Stewart Smith, New
York; Pallanza, Tivoli (1870); S. M. di Salute--Venice, R. C. Taft,
Providence; Lago Maggiore, R. L. Stewart, New York; Monte Ferro
(1871); _Golden_ Horn (1872); Venetian Sails (1874), J. J. Astor,
New York; Pallanza--Lago Maggiore, T. B. Clarke, ib.; Castle of
Chillon, Samuel Hawk Collection, ib.; October in the Catskills, J. P.
Morgan, ib.; Lake, Mountains of Vermont, M. K. Jesup, ib.; Autumnal
Scene, Marine and City, J. C. Coale, Baltimore; View in Venice,
H. B. Hurlbut Collection, Cleveland; Mansfield Mountain--Vermont,
Mrs. Joseph Harrison, Philadelphia; At Beni-Hassan, Near Palermo
(1876); Leander’s Tower, Sunset on the Hudson, Fire Island Beach
(1877); Sunset--Bay of New York (1878); Villa Malta--Rome, Claversack
Creek, Sea-shore, looking Eastward at Sunset (1879); Ruins of the
_Parthenon_ (1880), Corcoran Gallery, Washington; Sunrise on the
Matterhorn (1880).--Am. Art. Rev. (1880), 851; Kunst-Chronik, xvi. 25.
GIGNOUX, RÉGIS, born in Lyons in 1816, died in 1882. Landscape
painter, first instructed at Freiburg, Breisgau, then pupil of Lyons
Academy, and in Paris of the École des Beaux Arts and of Delaroche;
went to America in 1844, became member of the National Academy in New
York in 1851, and returned to France in 1870. Works: Bernese Alps by
Sunrise, Indian Summer in Virginia, Niagara in Winter; Four Seasons
in America, Baron Rothschild, Paris; Dismal Swamp; Mount Washington,
Mrs. A. T. Stewart, New York; Niagara by Moonlight, August Belmont,
ib.; Mammoth Cave, Historical Society, ib.; Winter Scene, Corcoran
Gallery, Washington; Moonlight on the Saguenay (Johnston Sale, New
York, 1876); Spring.--Müller, 205; Tuckerman.
GIGOUX, JEAN FRANÇOIS, born in Besançon, Jan. 8, 1806. History
and genre painter, pupil of the École des Beaux Arts. A skilful
painter, and a good lithographer. Medals: 2d class, 1833; 1st class,
1835 and 1848; L. of Honour, 1842; officer, 1880. Works: Henry IV.
writing Verses in the Missal of Gabrielle d’Estrées (1833); Mme.
Dubarry Dressing; A Good Adventure; Count Comminges recognized by
his Mistress; Death of Leonardo da Vinci (1835), Besançon Museum;
Anthony and Cleopatra after the Battle of Actium; Héloïse receiving
the Remains of Abélard; Magdalen, bought by State; St. Geneviève;
St. Philip healing a Sick Man; Baptism of Clovis (1844), ordered by
State; Nativity (do.); Death of Manon Lescaut; Death of _Cleopatra_
(1850), Good Samaritan (1857), Portrait of Fourier, Luxembourg
Museum; Charlotte Corday (1848); Galatea (1852); The Vintage (1853);
The Eve of Austerlitz (1857), Besançon Museum; An Arrest during the
Terror (1859); Head of Sarassin (1861); Poetry of Southern France
(1866); First Meditation (1867); Magdalen (1870); The Fisherman and
the Little Fish (1872); Father Lacour (1875); A Boy (1876); Youth of
De Ruyter (1877); Fountain of Youth, Magdalen in the Desert (1878);
Beauty Asleep in the Woods (1879); In the Desert, Martha (1880); A
Luxurious Man (1883); Capture of Ghent, Portrait of Charles VIII.,
Versailles Museum. He has also executed the decorations of a chapel
in Saint Gervais, Paris, and religious pictures for St. Germain
l’Auxerrois, St. Merri, and St. Protais.--Bellier de la Chavignerie,
i. 646; Gaz. des B. Arts (1864), xvi. 168; Meyer, Gesch., 286;
Müller, 205.
[Illustration: Bust]
GILBERT, Sir JOHN, born at Blackheath, Kent, in 1817. History and
portrait painter, self-taught, excepting a few lessons from George
Lance; began as an illustrator for newspapers and books; exhibited
first oil painting at Royal Academy in 1836. Afterwards turned his
attention to water-colour painting; elected an associate of the Water
Colour Society in 1852, a member in 1853, and president in 1872, when
he was knighted; became also an A.R.A. in 1872, and R.A. in 1876.
Medal, Paris, 3d class, 1878; L. of Honour, 1878. Works: Don Quixote
giving Advice to Sancho (1841); King Henry IV. (1845); Desdemona,
Charlemagne visiting the Schools, Death of Cardinal Beaufort (1846);
Murder of Thomas à Becket (1849); Touchstone and the Shepherd (1850);
Destruction of Job’s Flock (1851); Royalist Cavalry at Edgehill
(1857); Cardinal Wolsey and the Duke of Buckingham (1862); Army on
the March (1863); Rembrandt (1867); _Convocation_ of Clergy (1871);
Charles I. leaving Westminster Hall after Sentence (1872); Naseby,
First Prince of Wales (1873); Field of the Cloth of Gold (1874);
Wolsey at Leicester Abbey, Doge and Senators of Venice in Council
(1877); May Dew, Ready (1878); Return of the Victors (1879); Fair
St. George (1881); Youth and Age, Fight for the Standard, Winchelsea
in Sussex (1882); Don Quixote and Sancho, Trumpeter, Thomas à
Becket, The Baron’s Raid (1883); Morning of Agincourt (1884); A
Standard Bearer (1885); Rubens in his Studio, W. H. Vanderbilt, New
York.--Meynell, 17; Art Journal (1857), 241; Portfolio (1871), 49;
Ill. London News, 1869.
GILBERT, VICTOR GABRIEL, born in Paris; contemporary. Genre and
portrait painter, pupil of Adam, Levasseur, and Busson. Medal,
2d class, 1880. Works: Preparations for Dinner (1873); Vender of
Household Utensils, Poultry Vender (1878); Corner in Fish-Hall
(1880); Pavilion de la Marée-Halles centrales, Soup Vender (1881);
Departure for Night-fishing, Return from Fishing (1882); Stall in
Pavilion de la Marée (1883); Viand Carriers (1884); Sunday Afternoon
in a Parisian Market, Bather (1885).
GILDER. See _Doreur_.
GILDER, HELENA DE KAY, born in New York; contemporary. Figure and
still-life painter. Visited Europe in 1879. One of founders of
Society of American Artists. In 1877 she contributed The Last Arrow
to its first exhibition. Sent to the National Academy in 1878, Young
Mother; in 1881, Flowers; in 1883, Portrait and Water Lily. Studio in
New York.
GILLEMANS, JAN PAUWEL, the elder, born at Antwerp in 1618, died there
after Aug. 12, 1675. Flemish school; still-life and portrait painter,
master of the guild in 1648. Works: Silver Plate with Grapes, etc.,
Table with Ham, Beer-mug, etc., Th. van Lerius, Antwerp; Fruit-piece,
Rotterdam Museum; do., Lille Museum; Table spread, with Fruit,
Oysters, etc., Liechtenstein Gallery, Vienna; Garland around Madonna,
Bamberg Gallery; Fruit-piece, Table spread, with Flowers, Fruit,
costly Vessel, and Lute, Schwerin Gallery.--Van den Branden, 1113.
GILLEMANS, JAN PAUWEL, the younger, born at Antwerp, baptized Sept.
3, 1651, died there after March 31, 1702. Flemish school; still-life
painter, son of Jan Pauwel G., the elder, pupil of Joris van Son;
master of the guild in 1674. Works: Offering to Mercury, Jos. de
Bom, Antwerp; Garden Fruits, Breakfast Table, Schwerin Gallery;
Still Life, Schönborn Gallery, Vienna.--Rooses (Reber), 433; Van den
Branden, 1115.
GILLIG, JACOB, born at Utrecht about 1636, died there in 1688 (?).
Dutch school; still-life painter, especially of fish, which he
represented with great skill; afterwards also painted portraits,
and, it is said, landscapes. Works: Dead Fish (1668), Berlin
Museum; do. (1678), Carlsruhe Gallery; Burning of Troy (?), Cassel
Gallery.--Kramm, 574.
GILLISEN, KARL, born at Aachen, April 23, 1842. Military genre
painter, pupil of Antwerp Academy under Nicaise de Keyser, and in
Düsseldorf of Hünten; joined in 1864 the Belgian Corps for Mexico as
a volunteer, returned in 1866, and took part in the campaign of 1870
in France. Works: Guerillas are Coming! (1870); Morning after Battle,
Volunteer Nurses on Battlefield; Temporary Dressing; Outposts near
Paris; Indians before Invasion of Mexican Estate; Prairie Hunters in
Flight.--Müller, 207.
[Illustration: Bust]
[Illustration: Signature]
GILLOT, CLAUDE, born at Langres, Haute-Marne, in 1673, died in
Paris, May 4, 1722. French school; genre painter and engraver, first
instructed by his father, then pupil of J. B. Corneille in Paris. He
was one of the first artists in France to paint conversation pieces,
tragic and comic actors, satyrs and fauns, charlatans, masquerades
and balls. These paintings, cleverly conceived, and executed with
spirit and taste, were for a long time the object of universal
admiration, and led to his admission into the Academy in 1715. Works:
Feast of Pan; do. of Bacchus, Raczynski Gallery, Berlin; do. of Diana
disturbed by Satyrs; the Milkmaid.--Ch. Blanc, École française.
GILMAN, Mrs. C. R, born at Steubenville, O.; contemporary. Flower
painter, pupil of the Pennsylvania Academy of Fine Arts, later
of Carolus Duran. Studied abroad from 1878 to 1882. Studio in
Philadelphia. Work, Roses, T. B. Clarke, New York.
GILPIN, SAWREY, born at Carlisle, England, Nov. 11, 1733, died at
Brompton, March 8, 1807. Pupil of Samuel Scott, marine painter,
London, but devoted himself to painting of animals, especially
horses. Exhibited in 1763–64 at the Society of Artists, of which
he was for a time president, portraits of horses; in 1770, Darius
obtaining the Persian Empire by the Neighing of his Horse; and in
1771, Gulliver taking leave of the Houyhnhnms. In 1795 he became
an A.R.A., and in 1797 R.A. His brother, Rev. William Gilpin
(1724–1804), was an amateur landscape painter and a writer on art;
and his son, William Sawrey Gilpin, was a water-colour painter, and
first president (1804) of the Water Colour Society.--Redgrave; F. de
Conches, 344; Ch. Blanc, École anglaise; Sandby, i. 310.
[Illustration: Signature]
GIMIGNANI (Gemignani, Giminiani, Geminiani), GIACINTO, born at
Pistoja in 1611, died in 1681. History painter, Roman school; pupil
at Rome of Nicolas Poussin, whom he followed in composition and
design, and later in the school of Pietro da Cortona, whose style of
colouring he adopted. He painted in fresco in the Baptistery of S.
Giovanni in Laterano, Rome, subjects from the life of Constantine.
Works: Leander, Ariadne, Uffizi, Florence; Rebekah at the Well,
Palazzo Pitti, ib.; two pictures from life of St. John, S. Giovanni,
Pistoja; St. Roch, Duomo, ib. His son, Lodovico (1644–97), excelled
in fresco; also painted altarpieces.
GINAIN, EUGÈNE LOUIS, born in Paris, July 28, 1818. Military and
horse painter, pupil of Charlet and of Abel de Pujol. In 1840 he
followed the campaign in Algeria, and in 1846 one in Spain. Medals:
3d class, 1857, 1861; 2d class, 1863; L. of Honour, 1878. Works:
Duc d’Orleans during the Campaign of Teniah (1841); Review in
Champ de Mars (1849), Versailles Museum; Colonel Daumas receiving
the Submission of Mahi-ed-Din in 1835, Algiers Museum; Bull Ring
at Seville (1853), Duc de Montpensier; Towing the Daumont (1855);
Death of General Desaix at Marengo (1857), Versailles Museum;
Zouaves in the Battle of Afroun, Camp of Chalons (1857); Military
Exercises (1859); Return of the Army of Italy to Paris in 1859
(1861), Versailles Museum; Journey of the Emperor to Algiers (1863);
Fantasia (1864); Tow-Horses, Arab Horseman (1865); The Grand Sherif
Adi-Ali-Ben-Brahim (1866); El Halib (1868); Column returning from
a Raid (1869); Horse of Gaada (1870); Algerian Campaign of 1840
(1872); Review of June 29, 1871 (1873), bought by State; Assembly of
a Goum by the Caid (1874); On the Road, Entrance to the Stable, A
Hurdle (1875); The Sherif, The Retreat (1876); Artillery on the March
(1878); The Horse Follette (1879).--Müller, 207.
GINGELEN, JACQUES VAN, born at Borgenhout, near Antwerp, July
24, 1810. Landscape painter, pupil of Moerenhout, then in Paris
of Le Poittevin. Works: View of Antwerp (1838); View of Boulogne
(1839); View in Normandy (1840); De Verwachting; Return of
Fishermen.--Immerzeel, i. 279.
GIOCONDO, MADONNA LISA DEL. See _Monna_ Lisa.
GIOLFINO, NICCOLÒ, born at Verona about 1465, died after 1518.
Venetian school; history painter. Works: Portraits of the Giusti
Family (2), National Gallery, London; Madonna and Saints, Berlin
Museum; do. (2), Museo Civico, Verona; Frescos in Santa Maria in
Organo, ib.
[Illustration: Bust]
[Illustration: Signatures]
GIORDANO, LUCA, called Fa-Presto, born in Naples in 1632, died there,
Jan. 12, 1705. Neapolitan school; son of Antonio Giordano, a poor
painter, who taught him design; studied nine years with Spagnoletto,
then went to Rome and became pupil and assistant of Pietro da Cortona
for three years. Visited Bologna, Parma, Venice, and other cities,
making many copies of the pictures of the great masters, which his
father sold. He acquired at this time the surname of Fa-Presto,
because he painted with such extreme rapidity. In 1679 Luca was
called to Florence by the Grand Duke, who gave him large commissions,
through which he acquired a great reputation. In 1692 he was invited
to Spain by Charles II., who gave him titles, honour, and wealth.
Giordano painted many frescos in the Escorial, in the palace of Buen
Retiro, the Cathedral of Toledo, and other churches, and numerous
portraits. He returned to Italy in 1702, was splendidly received
by Clement XI., and settled in his native city. Giordano was the
last of the great Italian painters. Some of his works show marks of
genius, and with more conscientious labour he might have equalled the
greatest masters, but owing to his fatal facility of execution he
violated all the rules of good taste. Works: Christ driving out the
Money-Changers, S. Filippo, Naples; Ceiling frescos, S. Martino, ib.;
Judgment of _Paris_, Berlin Museum; St. Francis Xavier baptizing,
_Madonna_ del Rosario, Naples Museum; ceiling fresco, Palazzo
Riccardi, Florence; Galatea, Portrait of himself, Uffizi, ib.; Rape
of the Sabines, Palazzo Adorno, Genoa; Clorinda, Palazzo Brignole
Sale, ib.; Perseus, Palazzo Reale, ib.; Madonna with Saints, Brera,
Milan; Descent from the Cross, Venice Academy; Fall of the _Angels_
(1666), twelve others, Vienna Museum; _Lucretia_ and Tarquin,
_Perseus_ and Phineus, _Hercules_ and Omphale, Rape of the _Sabines_,
_Lot_ and his Daughters, _Susanna_, _Jacob_ and Rachel, _Ariadne_,
and others, Dresden Gallery; Massacre of the Innocents, Artist’s
Portrait, five others, Old Pinakothek, Munich; Judgment of Paris,
three others, Copenhagen Gallery; Glorification of St. Catharine, An
Astronomer, Portrait of a Priest, Cologne Museum; _Mars_ and Venus,
Louvre; Pietà, Sleeping Bacchus, Diana and Callisto, and others,
Hermitage, St. Petersburg; 68 pictures in Madrid Museum.--Kugler
(Eastlake), ii. 508; Burckhardt, 768, etc.; Lavice, 41, etc.
[Illustration: Bust]
GIORGIONE, IL, born at Castelfranco about 1477, died at Venice
in 1511. Venetian school. Real name Giorgio Barbarelli; pupil of
Giovanni Bellini and fellow-pupil of Titian, who afterwards became
his (Giorgione’s) pupil. Of his life nothing is known, save that
it was passed at Venice and Castelfranco, in which latter place
the house where he was born, now called Casa Pellizzari, contains
remains of his decorative frescos. Giorgione decorated the exterior
of many houses and palaces at Venice with frescos now effaced; his
oil paintings, owing to the shortness of his life, are comparatively
few. He treated subjects of the class introduced by Bellini, such
as allegories, legendary episodes, and bacchanals, in which figures
are set off by landscape with the happiest effect, and painted many
splendid portraits. His works are conspicuous for rich and brilliant
colour, for breadth and nobility of style, and for a poetical,
sensuous charm which fascinates and delights the beholder. Works:
Ordeal of Moses, Judgment of Solomon, Uffizi, Florence; _Concert_,
Palazzo Pitti, ib.; Family of _Giorgione_, Prince Giovanelli, ib.;
_Madonna_ with Saints (before 1504), Parish Church, Castelfranco;
Christ bearing Cross, Casa Loschi, Vicenza; Judgment of Solomon,
Kingston-Lacy, near Wimborn, England; Adoration of Magi, Leigh Court,
near Bristol, England; Nativity, Beaumont Collection, London; Knight
in Armour, Story of Myrrha (Hamilton Palace sale, £1,350), National
Gallery, ib.; _Chaldean_ Sages, Vienna Museum. Among works ascribed
to him are: Rustic _Concert_, Holy Family, Louvre; Assumption, Madrid
Museum; Entombment, Monte di Pietà, Treviso; Knight of Malta, Uffizi,
Florence; Nymph and Satyr, Finding of Moses, St. John Baptist,
Portrait of a Lady, Palazzo Pitti, ib.; Youth attacked by a Soldier,
Vienna Museum; Jacob and Rachel, Adoration of Shepherds, _Horoscope_,
Dresden Gallery; Finding of Moses, Brera, Milan; Apollo and Daphne,
Archiepiscopal Seminary, Venice; Repose in Egypt, Prince of Palermo,
Historical Society, New York.--C. & C., N. Italy, ii. 119; Lübke,
Gesch. ital. Mal., ii. 485; Vasari, ed. Mil., iv. 91; Lermolieff,
193; W. & W., ii. 721; Meyer, Künst. Lex., ii. 692; Dohme, 2iii.;
Ch. Blanc, École vénitienne.
[Illustration: Family of Giorgione, Giorgione, Palazzo Giovanelli,
Florence.]
GIORGIONE, FAMILY OF, _Giorgione_, Palazzo Giovanelli, Florence;
canvas, H. 2 ft. 9 in. × 2 ft. 5 in. A man in tights and slashed
doublet, said to be Giorgione, standing leaning on a staff to the
left; a mother seated on the bank, giving the breast to her child,
to the right; background, a beautiful landscape. Formerly in Palazzo
Manfrini, Venice.--C. & C., N. Italy, ii. 136; Zeitschr. f. b. K.
(1866), No. 11.
[Illustration: Il Giorno, Correggio, Parma Gallery.]
GIORNO, IL (The Day), or Madonna of St. Jerome, _Correggio_, Parma
Gallery; wood, H. 6 ft. 6 in. × 4 ft. 8 in. The Virgin, with Jesus
on her arm, sitting; Jesus is playing with the hair of the Magdalen,
who is half kneeling beside him; behind her is a boy with a vase of
ointment; on the other side, St. Jerome, with the lion behind him,
is standing, carrying a book which an angel aids him in supporting.
Called Il Giorno because represented in full daylight, and to
distinguish it from La _Notte_. Ordered in 1523 by Donna Briseide
Colla Bergonzi, of Parma, and placed in 1528 in S. Antonio Abbate.
Carried to Paris, but returned in 1816, though the French government
is said to have offered 1,000,000 francs for it. Many copies: one in
Bridgewater House, supposed by Lodovico Carracci; another in Palazzo
Pitti, Florence, by Barocci. Engraved by Aug. Carracci; Villamena;
Cort; Giovanni; Desbois; Strange; Devilliers; Bovinet.--Meyer,
Correggio, 313, 477; Landon, Œuvres, viii. Pl. 27; Musée, i. Pl. 37;
Musée royal, ii. Pt. 1; Filhol, ii. Pl. 79; Klas. der Malerei, i. Pl.
49.
GIOTTINO, born (?), died after 1369. Florentine school. Probably
identical with Giotto di Maestro Stefano, whose name appears in the
register of Florentine painters in 1368. Vasari calls him Tommaso di
Stefano, and says he was born in 1324, thus confounding him with Maso
di Banco (died after 1351), whom Ghiberti makes the pupil of Giotto,
and who was admitted to the guild of Speziali in 1343, and to the
Company of St. Luke in 1350. To Maso, Ghiberti ascribes the series
of frescos in the chapel of S. Silvestro in S. Croce, Florence,
representing the legend of Constantine, while Vasari, who made one
painter out of two, gives them to Giottino. The fresco of the Last
Judgment in the Bardi Chapel, S. Croce, belonging to the monument
of Ubertino de’ Bardi, is probably by the artist who painted two
frescos, the Birth and Crucifixion of Christ, in the mortuary chapel
of the Strozzi, Florence, and in a panel in the Uffizi, the Bewailing
of Christ. The last is given in the catalogue to Giottino, but
whether it and other works mentioned belong to him or to Maso remains
to be proved.--C. & C., Italy, i. 410; Lübke, Gesch. ital. Mal., i.
153; Baldinucci, i. 253; Vasari, ed. Mil., i. 622; W. & W., i. 453.
[Illustration: Bust]