in Florence, Jan. 8, 1337. Florentine school. Son of a shepherd
named Bondone; found drawing sheep upon flat stones, by Cimabue,
who, struck with his talent, took him to Florence and taught him to
paint. Dante tells in the Divina Commedia (Purgatorio, xi. 93) how
the master was outdone by the pupil, who is called the reviver of
painting, because he broke loose from Byzantinism and took nature
for his guide. In simple and unaffected, although necessarily
imperfect, language, he represented scenes from holy writ, legends
and allegories, according to the dogmas of the Church; and, though
living at a time when art was wholly in her service, worked in
a comparatively independent spirit. In his pictures there is no
striving after ideal beauty, no attempt at deceptive imitation of
natural objects, no difference of handling in the treatment of flesh,
drapery, or architecture, and but a scant supply of that technical
knowledge which in later times enabled men of infinitely less genius
to surpass them in execution, in chiaroscuro, perspective, drawing,
and colour. In all these things the apprentices of the next century
were Giotto’s superiors; though in earnestness, in the power of
telling a story with dramatic effect, and in truth of expression,
but few of their masters equalled, and still fewer surpassed, him.
He worked in many parts of Italy: in Assisi before 1296; in Rome
from 1298 to 1300; in Florence from 1300 to 1304; in Padua from
1304 to 1306; later in Rimini, and in Naples, where he painted the
Miracle of the Loaves and Fishes in the old convent church of S.
Chiara (but not the Incoronata frescos), from 1330 to 1333. In the
following year he was appointed master of the works at the Duomo,
Florence, for which he designed the façade, commenced but afterwards
destroyed, and built its exquisite campanile. Giotto’s twenty-eight
frescos representing scenes from the lives of the Saviour and of St.
Francis, in the aisle of the upper church of S. Francesco, Assisi,
were probably painted before the ceilings of the lower church (1296),
in which he allegorized the virtues of the Franciscans, Poverty, the
spouse chosen by St. Francis, Obedience and Chastity, the rules of
his Order. In Rome Giotto next decorated the tribune of the church of
S. Giorgio in Velabro with frescos, designed the so-called Navicella
represented by a mosaic in the portico of St. Peter’s, and painted
the three panels of a predella now in the sacristy of the canons of
St. Peter, representing the Redeemer and Angels, the donor Cardinal
Stefaneschi, and the Martyrdoms of St. Peter and St. Paul. The same
Apostles, with the Madonna and Saints, appear upon other predella
panels in the sacristy. In the Lateran Basilica is a fragment of
a fresco by Giotto representing Pope Boniface VIII. proclaiming
the opening of the Jubilee in 1300, when Giotto and Dante were in
Rome. The frescos of the Palazzo del Podesta or Bargello, Florence,
portions of which have been recovered, were painted about 1302 or
1303. As containing the well-known portraits of _Dante_, and some of
his contemporaries, that which represents an incident in the feud
of the Bianchi and the Neri factions has a peculiar interest. About
1305, Giotto went to Padua to paint the thirty-eight frescos of the
Cappella dell’Arena of Enrico degli Scrovegni. They represent scenes
from the lives of Christ and the Virgin, the _Last_ Judgment, and the
Virtues and Vices, and are the most important works of the master.
Several Crucifixes by Giotto exist; one is in the Sanctuary of this
chapel, others in S. Marco, S. Felicità, and the Gondi Doni chapel of
the Ogni Santi, Florence. Other mural paintings by the master are:
Incidents from the lives of SS. Anthony and Francis, in the chapter
house of S. Antonio, Padua; a ceiling with the four Doctors of the
Church and the four Evangelists, in S. Giovanni Evangelista, Ravenna;
the frescos of the Peruzzi, Giugni, and Bardi chapels, S. Croce,
Florence; and the remnants of frescos in the Carmine. Among the works
of Giotto in public galleries are: a Madonna with Angels, and many
small panels of incidents in the lives of Christ and St. Francis,
Florence Academy; two of the same series in the Berlin Museum, and
two at Munich; Madonna, Brera, Milan; St. Francis receiving the
Stigmata, Louvre, Paris; Two Apostles, National Gallery, London.--W.
& W., i. 435; C. & C., Italy, i. 234; Lübke, Gesch. ital. Mal., i.
113; Vasari, ed. Mil., i. 369; Burckhardt, 492; Dohme, 2i.; Ch.
Blanc, École florentine.
GIOTTO DI MAESTRO STEFANO. See _Giottino_.
GIOVANNI ALAMANNO. See _Antonio_ da Murano.
GIOVANNI D’ASCIANO, of Siena, born in Asciano, flourished latter part
of 14th century. Sienese school; pupil of Barna, and a weak imitator
of his style. He finished the frescos in the church at S. Gimignano,
begun by his master. Vasari says he executed paintings in the
hospital of Siena, and in the ancient palace of the Medici, Florence,
which gave him reputation, but they are all lost.--C. & C., Italy,
ii. 110; iii. 62; Vasari, ed. Le Mon., ii. 163.
GIOVANNI DI CALCAR. See Hans von _Kalkar_.
GIOVANNI DA FIESOLE. See Fra _Angelico_.
GIOVANNI FIAMENGO. See Hans von _Kalkar_.
GIOVANNI DI MARTINI DA UDINE, born latter half 15th century, died at
Udine, Aug. 30, 1535. Venetian school. Son of Martino da Tolmezzo,
a carver of Udine, and called Martini to distinguish him from his
cousin, Giovanni Mione. Pupil of Luigi _Vivarini_, but how long he
was in Venice is not known. Had returned to Udine in 1497, where he
resided until his decease, his later days being principally devoted
to carving. As a painter he imitated Luigi Vivarini’s early style,
and in many respects he recalls Jacopo da Valentia. Works: Madonna
(1498), Museo Civico, Venice; St. Mark Enthroned (1501), Cathedral,
Udine; others in the Spilimberg Cathedral, and in the Brera,
Milan.--C. & C., N. Italy, ii. 182; Lübke, Gesch. ital. Mal., ii. 582.
GIOVANNI DA MILANO, born in Milan in 14th century. Florentine school.
Real name Giovanni Jacobi; long an assistant to Taddeo Gaddi; settled
at Florence in 1366. He made no advancement in composition beyond
Taddeo, but he was less conventional than his master, and more
finished and elaborate in execution. His earliest extant picture,
a Bewailing of Christ, in the Florence Academy, dated 1365, shows
excessive conscientiousness, but lacks elevation. A larger and more
important picture is the Virgin Enthroned, Municipal Gallery, Prato.
An altarpiece in five compartments, in the Uffizi, Florence, and the
frescos of scenes from the story of the Virgin and Mary Magdalen, in
the Rinuccini Chapel, S. Croce, are also by this painter.--C. & C.,
Italy, i. 402; Lübke, Gesch. ital. Mal., i. 143; Vasari, ed. Le Mon.,
ii. 115, 179; ed. Mil., i. 572; W. & W., i. 455.
GIOVANNI DA MURANO. See _Antonio_ da Murano.
GIOVANNI DI PAOLO, died about 1481. Sienese school. Commonly called
del Poggio. On the roll of Sienese artists in 1428; in the service of
Sano di Pietro in 1447. According to Ricci, he attended the school of
Gentile da Fabriano. His strange fancy in composition and awkwardness
in representing action are shown in a Last Judgment (1453) in the
Siena Academy, and in seven panels, Ramboux Collection, Cologne.--C.
& C., Italy, iii. 80; Vasari, ed Le Mon., iv. 168; vi. 186.
GIOVANNI DI PIETRO. See _Spagna_.
GIOVANNI DA SAN GIOVANNI. See _Mannozzi_.
[Illustration: Bust]
GIOVANNI DA UDINE, born in Udine, Oct. 15, 1487, died in Rome in
1564. Umbrian school. Real name Giovanni de’ Recamatori, son of
Francesco de’ Recamatori (of the Embroiderers). Pupil of Giorgione,
but afterwards of Raphael, under whom he superintended the ornamental
decorations in the Vatican Loggie, such as animals, birds, fruit,
flowers, and grotesques. His arabesques have ever since been
considered models of their type. In 1527, when Rome was sacked by the
Constable de Bourbon, he went to Florence and painted for the Medici;
worked also in Udine, Venice, and in other cities, but finally
returned to Rome about 1550. Most of his works are mural decorations.
Among the easel pictures attributed to him are: Christ among the
Doctors, Holy Family, Venice Academy; Madonna and Saints, Palazzo
Manfrini, Venice; do., Museo Civico, ib. The only authenticated work
of this kind is a Madonna Enthroned (1517), belonging to Signor
Frizzoni, Bergamo.--Ch. Blanc, École ombrienne; Vasari, ed. Mil.,
vi. 549; ed. Le Mon., xii. 300; Burckhardt, 178; Lübke, Gesch. ital.
Mal., ii. 374.
GIOVANNI DELLE VITE. See _Miel_.
GIRARD, ALBERT, born in Paris, Dec. 13, 1839. Genre and landscape
painter, pupil of his father, of Flandrin, and of Bellel. Medal,
3d class, 1882. Works: Moorish Festival at Algiers (1873); Negro
Dance at Algiers, Moorish Interior (1875); Women Bathing (1877);
Nymphs (1879); Coast of Villerville, The Sea at Trouville; Le
Vieux Deauville, Norman Pasture (1882); Arab Hunters in Mountains
of Blidah, Strand at Villerville (1883); Oat-field in Picardy,
Marsh of Condé-Folie, ib. (1884); Charity Office of the Twentieth
Arrondissement, On Way to Work (1885).
[Illustration: Signature]
GIRARD, FIRMIN, born at Poncin (Ain), May 31, 1838. Genre painter,
pupil of Gleyre; paints fresh and brightly coloured pictures of
trivial subjects. Medals: 3d class, 1863; 2d class, 1874. Works:
Flower-Girl (1872); Japanese Toilet (1873); Revery, Fishing,
Betrothed (1874); Godmother’s Garden, First Caress (1875);
Bear-Trainer at Aurillac (1877); Wedding in the 18th Century (1878);
Caught in the Rain (1879); Close of Autumn, Going to Market (1881);
Visiting the Farm (1882); Christening in the 18th Century (1883);
Sunday at Bas-Meudon (1884); A Happy Meeting, An Alley of Roses
(1885). Works in the United States: Toilet, A. Belmont, New York;
Fishing, G. I. Seney sale (1884), ib.; Street in St. Rambert--Loire,
R. Hoe, New York; Wedding in the Last Century, R. G. Dun, ib.; Paris
_Flower_-Market (1876), Study for do., T. R. Butler, ib.; Book of
Hours, Fishing, Betrothal, E. D. Morgan Collection, ib.; Coming
Shower, C. S. Smith, ib.; Spring-Time, William Astor, ib.; Scene
in Japan, H. C. Gibson, Philadelphia; Pensive, Tête-à-tête, Borie
Collection, ib.--Müller, 208.
GIRARDET, ÉDOUARD HENRI, born at Neufchâtel, July 21, 1819, died at
Versailles, Jan. 5, 1880. Genre painter, son and pupil of Charles
Samuel Girardet, the engraver. Medals: 3d class, 1842; 2d class,
1847, 1859, 1867; L. of Honour, 1866; 1st class, for engravings,
1861 and 1863. Works: The Common Bath (1839); Wounded Goat (1840);
Fortune-teller, Barber-shop in Brittany, Snowball Fight, After the
Battle, Basle Museum; Grandmother’s Story (1842); Father’s Blessing
(1843); Interrupted Meal (1844); Mother’s Love (1846); Revelations
(1849); Departure of the Landsturm in 1798, Neuchatel Museum; Blind
Beggar in Cairo (1845); Peasants and Bears, Difficult Letter, Little
Apple Thieves (1846); Wooing in Bernese Oberland, Alms, Going to
School (1848), Berne Museum; Sick Child, Zürich Gallery; Nest of
Blackbirds (1849); Bad Weather on the Mountains (1850); A Land-Slide;
Village Wedding (1859). Was also an engraver.--Bellier de la
Chavignerie, i. 655; Vapereau (1880), 809.
GIRARDET, JULES, born in Paris; contemporary. Genre and landscape
painter, pupil of Cabanel. Medal, 3d class, 1881. Works: Little
Fadette (1877); Return from Market at Tanjier (1878); Skaters (1879);
Environs of Biskra (1880), Episode in Siege of Saragossa (1881);
Defeated Army of General Lescure passing the Loire (1882); Rout at
Chalet, October, 1793 (1883); The Girondin Louvet and his Friend
Lodoiska, An Arrest during the Reign of Terror (1884); A Failure
(1885).
GIRARDET, KARL, born at Locle, Switzerland, May 13, 1810, died in
Paris, April 24, 1871. Genre and landscape painter, brother of
Édouard Henri, pupil of Léon Cogniet. Travelled much in Europe and
the Levant, and accompanied the Duc de Montpensier to Spain. Medals:
3d class, 1837; 2d class, 1842; Grand Medal of Prussia, 1843;
Member of Academy of Amsterdam, 1853; honourable mention, 1855.
Works: Hedge-School, Rabbits’ Breakfast (1836); The Righi, Starting
for the Market over Brientz Lake (1837); Protestants surprised at
Worship (1842), Neuchatel Museum; Views of Sorrento, Capri (1842),
and Vesuvius (1843); The Nile; Mosque in Cairo, Duc de Montpensier;
The Bey’s Tent at Isly, Ioways dancing in the Tuileries (1846),
Versailles Museum; Egyptian Labourers (1847); Restaurant on the Nile
(1849); Odalisque, Soldier’s Return (1850); Old Franciscan Convent
at Alexandria, Lady Claypole reproaching her Father Cromwell with
the Death of Charles I. (1853); Ceremony of Hand-Kissing in Hall
of Ambassadors at Madrid, Lake of Brienz, View in Val-de-Travers,
Village and Lake of Brienz, Neuchatel Museum; Episode in Battle of
Morat (1856), Berne Museum; Meadow on the Aar, View on the Eure,
Solitude (1859); five views of Valais, Drinking-Place on the Moors of
Gascony (1861); View near Sion, Fishermen of Albengo (1863); Mouth of
the Toccia, Moors of Gascony (1864); Sunrise on Lago Maggiore (1866);
Storm in the Valais, Lake of Wallenstädt (1870). Made designs for
illustrations of the Orlando Furioso, Thiers’s Consulate and Empire,
and other works.--Bellier de la Chavignerie, i. 655; Vapereau (1865),
748.
GIRAUD, (PIERRE FRANÇOIS) EUGÈNE, born in Paris, Aug. 9, 1806, died
in Paris, Dec. 29, 1881. Genre painter, pupil of Theodore Richomme,
of Hersent, and of the École des Beaux Arts, where he won the grand
prix de Rome for engraving in 1826. After his return from Italy he
travelled with Alexander Dumas in Spain, and later in Algeria and
the Levant. Medals: 3d class, 1833; 2d class, 1863; L. of Honour,
1851; Officer, 1866. Works: Volunteer Enlistments (1835); Marcel
saving the Dauphin Charles (1836); Armies of Condé and of Coligny
crossing the Loire (1839); The Promenade, The Guide’s Children
(1840); Wasps (1843); Ill of a Fever in the Roman Campagna (1846);
Dance in a Posada, The Gust of Wind, Fire in Constantinople (1853);
Algerian Women, Flower-Girl (1859); Henri IV. in the Tower of St.
Germain-des-Prés, Gypsy Woman of Seville (1861); Overflow of the
Nile, Moucharaby in Cairo (1863); Dancing Girl in Cairo (1866),
formerly in Luxembourg Museum; Night in Paris (1866); Coming from
Vespers, Fatima (1868); La Devisa, or Incident of a Bull-Fight
(1869), formerly in Luxembourg Museum; Confession before the Battle,
Hunting for Herbs (1870); Message, Defended Gate (1872); Condé going
to the Army, Disenchanted (1873); Rest, Jeweller in the Seraglio
(1874); Secondhand Booksellers (1875); Flower-Market under the
Directory (1876); Criminal Court, Return from the Tavern (1877);
Terrace near the Nile, Agreeable Meeting (1878); Hungarian Csarda
(1880).--Bellier de la Chavignerie, i. 658; Meyer, Gesch., 706;
Vapereau (1880), 814.
GIRAUD, SÉBASTIEN CHARLES, born in Paris, Jan. 18, 1819. Genre
painter, brother and pupil of Eugène, and pupil of the École
des Beaux Arts. Has accompanied as artist various expeditions,
such as that under Prince Napoleon to Northern Europe, and has
visited America. L. of Honour, 1847. Works: Studio, Scene in Hayti
(1853); End of the Haytian War, Princess Mathilde’s Dining-Room,
M. de Nieuwerkerke’s Library (1859); Fifteenth Century Interior,
View of Tinyvalla in Iceland (1861); Hunter Returning (1863),
Besançon Museum; Fifteenth Century Interior (1863); Interior of
a Conservatory, Breton Tavern (1865); Napoleon III., Gallery of
the Louvre, Interior of a Parlour (1866); Room in the Musée Cluny
(1867), Luxembourg Gallery; Torture Room in Castle of Pierrefonds
(1868); Bowling at Pont-Aven (1869); Return from Fishing (1870);
Women Spinning (1873); Landing-Place at Brienz (1874); The Farewell
(1875); Flemish Interior (1876); Gathering Apples (1877); A Sunday in
Brittany (1878); Fifteenth Century Interior (1883).--Bellier de la
Chavignerie, i. 659.
GIRAUD, VICTOR, born in Paris, Jan. 12, 1840, died there, Feb. 21,
1871. Genre painter, son and pupil of Eugène, and pupil of Picot.
Works: Slave Merchant (1867), formerly in Luxembourg Museum; The
Husband’s Return (1868), Montpellier Museum; The Charmer (1870).
[Illustration: Bust]
[Illustration: Initials]
GIRODET DE ROUSSY, ANNE LOUIS, called Girodet Trioson, born at
Montargis (Loiret), Jan. 5, 1766, died in Paris, Dec. 9, 1824.
French school; history and portrait painter, pupil of Luquin and of
David; won 2d prix de Rome in 1788, and grand prix in 1789. After
five years in Rome he returned to Paris, won the ten-years prize for
history (1810), and entered upon a successful career. He painted few
pictures, but made many studies and designs, and illustrated numerous
books. Member of Institute, 1815; L. of Honour, 1816. Louis XVIII.
ordered the cross of an officer of the L. of Honour to be placed
on Girodet’s coffin. Works: Death of Tatius (1788), Angers Museum;
Joseph discovering himself to his Brethren (1789); Hippocrates
refusing the Presents of Artaxerxes (1792), École de Médecine,
Paris; Antiochus and Stratonice (1793); Danaë (1798), M. Chatillon;
Landscapes representing the Four Parts of the Day (1798); The Seasons
(4 pictures, 1799, for King of Spain, copied in 1817 for Palace of
Compiègne); Ossian and his Warriors (1802), Leuchtenberg Collection,
St. Petersburg; _Deluge_ (1810), Sleep of _Endymion_ (1792); Burial
of _Atala_ (1808), Louvre; Napoleon receiving Keys of Vienna (1808),
Revolt of Cairo (1810), Versailles Museum; Minerva, Apollo, Mercury,
Nymphs, and Bacchus (6 pictures), Hymen and Fecundity (1817), Gods
and Nymphs (1818), Titon and Aurora, Dance of Greeks, Dance of
Nymphs, Justice and Valour, etc. (4 pictures, 1822), Departure and
Return of the Warrior, all at Compiègne; Napoleon’s Father (1805);
Portrait of Napoleon I., Châteauroux Museum; Male portrait, Cherbourg
Museum; Young Woman’s Head, Lyons Museum; Burial of Atala, Amiens
Museum; Gorgon Head, Perpignan Museum; Anacreon, Dante and Virgil,
Old Man, and others, Montpellier Museum; Aurora (1806), Leipsic
Museum; Pygmalion and Galatea, Count Sommariva sale, 1839, 14,000
francs; Head of the Virgin (1812), Count Perregaux sale, 1841, 3,155
francs; Fair Elizabeth (his favourite model), M. ---- sale, 1857,
3,100 francs.--Bellier de la Chavignerie, i. 661; Ch. Blanc, École
française; Villot, Cat. Louvre; Gaz. des B. Arts (1874), x. 464;
Gautier, Guide au Louvre, 13; Meyer, Gesch., 91.
GIROLAMO DI BENVENUTO, born in 1470, died in 1524. Sienese school;
son and pupil of Benvenuto del Guasta. Painted in 1508 a Virgin
of the Snow, in S. Domenico, Siena, which, though resembling his
father’s productions, is more pleasing. There are several pictures by
him in the Siena Academy, and a S. Chiara with a kneeling Pilgrim in
the Osservanza outside Siena.--C. & C., Italy, iii. 73.
GIROLAMO BRESCIANO. See _Savoldo_.
GIROLAMO DA CARPI, born at Ferrara about 1501, died about 1561.
Lombardo-Ferrarese school. Real name de’ Sellari or de’ Livizzani,
but called da Carpi because his father, Tommaso, was born there.
Pupil of Benvenuto Garofalo; afterwards painted at Bologna, and
later studied works of Correggio and Parmigianino in Modena and
Parma. Though he imitated them, he was not a servile copyist, but
had a style of his own. Painted in fresco and in oil, and was very
successful in portraits; was also an architect. Among his works
are: Adoration of the Magi, and Madonna, Bologna Academy; Christ in
the House of Martha and Mary, Uffizi, Florence; Entombment, Palazzo
Pitti, ib.; Portrait of Archbishop Salimbeni, ib.; Christ on the
Mount of Olives, ib.; Venus and Cupid, Dresden Gallery.--Vasari,
ed. Mil., vi. 469; Lanzi, iii. 204; Ch. Blanc, École ferraraise;
Cittadella, Memorie di ... Garofalo (Ferrara, 1872); Lavice, 63.
GIROLAMO DA COTIGNOLA, born in Cotignola about 1481, died in 1550.
Bolognese school. Real name Girolamo Marchesi, son of Antonio M.;
pupil of Zaganelli(?) and of Francesco Francia, but in his later days
an imitator of Raphael and Michelangelo. A Nativity of 1513, in his
early style, is in Lord Ashburton’s Collection. Examples of his later
manner, dated 1516 and 1526, are in the Berlin Museum; Madonna and
Saints, dated 1518, L’Annunziata, Parma; Marriage of the Virgin, and
the Annunciation, Nativity, and Flight into Egypt, in a predella,
Bologna Pinac. Vasari says he was chiefly known as a portrait
painter.--C. & C., N. Italy, i. 601; Vasari, ed. Mil., v. 182; Ch.
Blanc, École bolonaise.
GIROLAMO DAI LIBRI, born in Verona in 1474, died July 22, 1555.
Venetian school. Son of Francesco dai Libri, a miniaturist (or
illuminator of books, whence he got his name), of whom no vestige has
been preserved, and grandson of Stefano da Zevio. His first picture,
Christ deposed from the Cross, in the Church of Malsesine, painted
when sixteen years old, is an illustration of his education in the
school of a miniaturist, but in his later works, inspired by a deep
study of the Mantegnesques, he exhibits the form and the spirit of
a greater art. His Madonna and Saints, lately in Hamilton Palace,
near Glasgow, is a good example of this style. Later he shows the
influence of Francesco Morone, as in the Madonna and Saints, Berlin
Museum. Still later he acquires a more modern treatment in every
branch of practice, as seen in the Conception, in S. Paolo, Verona.
The culminating point in his career is reached in the Virgin in Glory
and the Madonna and Saints (1530), Verona Museum; and in the Madonna
and St. Anne, National Gallery, London. Beginning as a miniaturist,
he rose to a high place amongst the painters of North Italy, being
neither a plagiarist nor a servile copyist. His son, Francesco (born
1500), was a miniature and oil painter.--C. & C., N. Italy, i. 493;
Burckhardt, 606; Lübke, Gesch. d. ital. Mal., ii. 578.
GIROLAMO DA SANTA CROCE, born at Santa Croce (?), near Bergamo,
flourished at Venice in 1520–49. Venetian school; history and
landscape painter, perhaps pupil and assistant of Francesco da Santa
Croce, of whom he may and may not have been a relative; further
developed under influence of Giovanni Bellini and the great Venetian
masters. Works: Nativity, Martyrdom of St. Sebastian, Coronation of
the Virgin, Crucifixion, Berlin Museum; Nativity, Martyrdom of St.
Lawrence, Dresden Gallery; St. Thomas Aquinas Enthroned (1520), S.
Silvestro, Venice; Adoration of the Magi, Manfrini Gallery, ib.;
Resurrection (early work), Last Supper (1549), S. Martino, ib.; Head
of Christ, A Bishop, Academy, ib.; Crucifixion, Adoration of the
Shepherds, Museo Civico, Verona; Coronation of the Virgin, God Father
and Holy Family, Museo Civico, Padua; several in Bergamo Gallery;
Nativity, Resurrection, Basle Museum.--Lübke, Gesch. ital. Mal., ii.
624.
GIROLAMO DA SERMONETA, born at Sermoneta about 1510 (?), died in Rome
about 1580. Umbrian school. Real name Girolamo Siciolante; pupil
of Perino del Vaga, whom he assisted in his frescos in Castello
S. Angelo and in other works. Employed by Gregory XIII. in the
decorations of the Sala Regia in the Vatican; also executed works in
many churches in Rome. His best work is the Madonna and Saints, in S.
Bartolommeo, Ancona. Said to have been a good portrait painter. His
style is antiquated, more like that of the Peruginesques than of any
of his contemporaries.--Vasari, ed. Le Mon., x. 170, 185; ed. Mil.,
vii. 571; Ch. Blanc, École ombrienne.
GIROLAMO DA TREVISO, the elder, of Padua, latter half of 15th
century. Venetian school. Probable pupil of Squarcione, but painted
chiefly at Treviso, where he is said to have finished an altarpiece
and frescos in S. Niccolò in 1470. His oldest known picture is the
Death of the Virgin, at Lonigo, painted in 1478. Better than this is
the Christ at the Column, in Casa Rinaldi, Treviso, in which there is
an echo of Antonello da Messina. Virgin with Saints, Duomo, Treviso
(1487).--C. & C., N. Italy, i. 355; Kugler (Eastlake), i. 294.