Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/141

 between two Ages, and his Two Mistresses, The Foolish Virgins (1873); Landscape in Tuscany, Sacrifice to Æsculapius (1875); Tribute of Athens to Minotaur (1876); M. Purgon arrive mal-à-propos (1877).—Larousse, viii. 1130; Meyer, Gesch., 605; Müller, 199; Revue des B. Arts (1859), ii.

GENELLI, BONAVENTURA, born in Berlin, Sept. 28, 1798, died in Weimar, Nov. 13, 1868. History painter, pupil of Berlin Academy under the influence of his uncle, the architect Hans Christian Genelli. Lived from 1822 to 1832 in Rome, and was much influenced by Carstens, Koch, and Thorwaldsen. In 1836 he removed from Leipsic to Munich, and in 1859 to Weimar by invitation of the Grand Duke. One of the most ingenious designers of modern times. Weimar Order of Falcon, 1862. Member of Vienna Academy, 1868. Works: Triumph of Bacchus and Ariadne (water-colour), Leipsic Museum; Hercules playing the Lyre; Eliezar and Rebekah; Jason and Medea robbing the Golden Fleece; Life of a Libertine (18); Illustrations to Homer (49); Life of a Witch (10); Illustrations to Dante (36); Life of an Artist; Æsop telling his Fables (water-colour), Leipsic Museum; do., and Homer reciting his Songs, Sappho reciting her Poems, Apollo among the Shepherds, Baron Sina, Vienna; Sisyphus led away by the Youth with the Torch, Academy, ib.; Colossal Head of Don Quixote; Lot in Zoar; Samson and Delilah; Rebekah at the Well; Joseph and Potiphar's Wife; Vision of Ezekiel (1859), Rape of Europa (1860, cartoon to it (1857) in National Gallery, Berlin). Hercules and Omphale, Triumph of Bacchus and Ariadne, Abraham and the Angels (1862), Battle of Lycurgus (1863, cartoons to last two in Leipsic Museum), Drop Curtain with Allegories, Bacchus among the Muses (1868), Schack Gallery, Munich; Abraham and the Angels (water-colour), Leipsic Museum; Centaur Family (1862); Jupiter and Eros on the Wings of Night (1864), Bacchus among the Pirates (1868, cartoon, last work), Weimar Museum. His son, Camillo (1840-67), was a designer and painter of great promise.—Allgem. d. Biogr., viii. 562; Brockhaus, vii. 750; Förster, Denkmale, XII. iii. 29; Graph. K., iv. 1; Illustr. Zeitg. (1868), 415; Kunst-Chronik, iii. 141; iv. 17; Pecht, ii. 271; Regnet, i. 159; Riegel, Kunststudien, 291; Schack, Meine Gemäldegallerie (1884), 1; Land und Meer (1869), i. 351; Zeitschr. f. b. K., v. 1; xi. 11; xii. 25, 90, 122, 217; xiii. 115, 184, 221, 250, 316, 355; xviii. 257.

GENEVIÈVE, SAINT, Puvis de Chavannes, Church of St. Geneviève (Pantheon), Paris. St. Geneviève of Paris, who in childhood tended sheep, went with others to meet St. Germain when he came to spend a night at Nanterre. When the bishop saw her he was made aware by inspiration of the sanctity of her character, and hanging round her neck a medal marked with the cross, he blessed her as one consecrated to God's service.

GENGA, GIROLAMO, born at Urbino in 1476, died there, July 11, 1551. Umbrian school; pupil of Luca Signorelli, whom he aided in his frescos in the Duomo of Orvieto. Genga afterwards was Perugino's assistant for three years, and in his school became acquainted with Raphael. Painted, in the Palazzo Petrucci, Siena, and then with Timoteo Vite at Urbino. Afterwards worked in Rome, Pesaro, and Florence, both as painter and architect. Works: Resurrection (1510), Siena Duomo; Madonna, Brera; Resurrection, S. Caterina da Siena, Rome; Holy Family, Palazzo Pitti, Florence. His son, Bartolommeo Genga (born 1518, died 1558), was better known as an architect than as a painter.—Ch. Blanc, École ombrienne; Vasari, ed. Le Mon., xi. 86; ed. Mil., vi. 315; Siret, 356; Baldinucci, ii. 93.