Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/148

 colour, and many lithographs; also modelled for sculpture. Works: Raft of the Medusa (1819), Officer of the Imperial Guard Charging (1812), Wounded Cuirassier Retreating (1814), The Derby at Epsom (1821), A Carbineer, The Plaster Kiln, Turkish Horse in a Stable, Spanish Horse in a Stable, Five Horses in a Stable, Louvre; Portrait of Lord Byron, Two Horses in a Stable, Montpellier Museum; Others in Grenoble, Rouen, Nantes, Chalon-sur-Saone, Aix, and Avignon Museums; Wreck of the Medusa, Historical Society, New York; Village Smithy, Child feeding a Horse (exhibited in 1824, after his death); Cavalry Charge, Still Life, B. Wall, Providence.—Ch. Blanc, École française, iii.; Villot, Cat. Louvre; Lejeune, Guide, i. 324; Chesneau, Peinture française (Paris, 1883); Gaz. des B. Arts (1874), ix. 72.

GERINI, LORENZO, Florentine school, beginning of 15th century. Son of Niccolò Gerini and equally mediocre. A fair painter among the third-rates, and of considerable practice. His most important work is the Coronation of the Virgin, an altarpiece with predella, painted in 1440, in S. Domenico, Cortona.—C. & C., Italy, ii. 23.

GERINI, NICCOLÒ DI PIETRO, Florentine school, 14th century, died 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, 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.

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