Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/175

 Paris, who awarded it to Venus, that goddess having promised him Helen of Sparta for his wife, led to the Trojan war. In Turner's picture, a glorious mountain landscape, with the River Lethon and nymphs in foreground, the Goddess of Discord is seen receiving the apple from the Hesperides; in the background, the fiery dragon is lying at length along the summit of a lofty crag. British Institution, 1806. Engraved by T. A. Prior in Turner Gallery.

GODS AND THEIR MAKERS, Edwin Long, Thomas Taylor, London; canvas, H. 4 ft. 9 in. × 7 ft. 9 in. Interior of an Egyptian studio, with grotesque images against the wall; at right a sculptor modelling a cat after a living model, held by a negress; at left, young girls seated on floor painting images. Royal Academy, 1878; sold at Thomas Taylor's sale (1883), for £2,725.

GOES, HUGO VAN DER, born in Ghent about 1430, died in the Rooden Cloister, near Brussels, in 1482. Flemish school; history and portrait painter. In 1465 he was a member, and in 1473-75 dean, of the painters' guild at Ghent, where, in 1468, he assisted in preparing decorations for the marriage of Charles the Bold and Margaret of York. About 1475 he took refuge in the Rooden Cloister, of the Augustine Choir-Masters, whence, in 1479-80, he was called to Louvain, as one of the greatest painters in the country, to value an unfinished picture by Dierick Bouts. About 1481 he became insane. The one authentic picture by Hugo van der Goes is the altarpiece in the Hospital of S. Maria Nuova, Florence, which was ordered at Bruges by Tommaso Portinari, and painted about 1470-75. The middle picture represents the Adoration of the Shepherds; on the wings are the portraits of Tommaso Portinari and his two sons, presented by SS. Matthew and Anthony, and of Folco Portinari, with his wife and daughter and their patron saints, Margaret and Mary Magdalen. Heads earnest and severe, draperies broken into stiff folds, colour wanting in harmony, cold, though clear in tone. Attributed to him is also an Annunciation in the Old Pinakothek at Munich.—Allgem. d. Biogr., ix. 322; Ch. Blanc, École flamande; Ed. De Busscher, Recherches sur les peintres Gantois, 65, 105, 113, 117, 205; C. & C., Flemish Painters, 155; Förster, Denkmale, XI. iii. 1; Immerzeel, ii. 62; Kramm, iii. 764; Wauters, Hugues van der Goes, etc. (Brussels, 1872); W. & W., ii. 27.

GOETZLOF, KARL WILHELM, born in Dresden in 1803, died at Naples in 1866. Landscape painter, went to Italy in 1823; member of Dresden Academy in 1835. Sorrento, Capo di Monte, Naples, with dancing Italians (1830), Kunsthalle, Hamburg; Two Scenes from Taking of Catania, Berne Museum.

GOLDEN CALF, Claude Lorrain, Grosvenor House, London; canvas, H. 4 ft. 7 in. × 8 ft. 1 in.; dated 1653. Companion to Sermon on the Mount. The golden calf upon a high pedestal in a rocky valley, with Israelites worshipping it. Liber Veritatis, No. 129. Engraved by Jazet, Paris, by Lerpinière (1781), and in Grosvenor Gallery. Study in bistre, British Museum; sketch in Louvre.—Pattison, Claude Lorrain, 73, 218, 234; Waagen, Treasures, ii. 171.

GOLDEN CALF, Tintoretto. See Moses on the Mount.

GOLDEN HORN, Sandford R. Gifford, private gallery, New York; canvas, H. 2 ft. 3 in. × 4 ft. The harbour of Constantinople, so named in ancient times from the wealth of its commerce. The picture shows an expanse of rippled water, to which the noon-*day sun gives a golden glow; on each side rows of shipping extend back until almost lost in the golden haze through which the roofs and spires of the city are just visible.

GOLDMANN, OTTO, born in Berlin, April 8, 1844. Genre painter, for a short time pupil of Berlin Academy; since 1878 has followed the realistic manner of Karl Gussow. Works: Not Alone? Check and Mate? In Great Expectation; Disturbed