Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/183

 Gimignano, a series of scenes from the life of St. Augustine, and other subjects in the Pieve. Between 1469 and 1485 he painted, in the Campo Santo, Pisa, a series of frescos representing 24 subjects from the Old Testament, the most pleasing of which is Noah and his Family, which contains the charming episode of the vintage and a rich architectural and landscape background. Among his extant easel pictures are the Triumph of St. Thomas Aquinas, Louvre; Conception, Pisa Academy; Miracles of St. Hyacinth, Vatican, Rome; Madonna with Saints, Vienna Museum; Miracles of S. Jacinto, Vatican; Madonna with Saints, Rape of Helen, National Gallery, London; History of Lucretia, National Gallery, Dublin.—C. & C., Italy, ii. 498; Vasari, ed Le Mon., iv. 184; Baldinucci, i. 490; Ch. Blanc, École florentine; Burckhardt, 538; L'Art (1881), xxvii. 125; Lübke, Gesch. d. ital. Mal., i. 318; Gautier, Guide au Louvre, 91.

GRAAT, BAREND, born in Amsterdam in 1628, died there in 1709. Dutch school; landscape, genre, and history painter, pupil of his uncle, an animal and landscape painter; studied much from nature, and took Pieter van Laar for his model. He established a school of design at his house, where the best artists of his time congregated to draw from life. Works: Home Scene, Buckingham Palace, London; Hunt, Coursing (both with Reinier de Vries), New York Museum.—Immerzeel, i. 290; Kramm, ii. 598.

GRAAUW, HENDRIK, born at Hoorn, North Holland, in 1627, died at Alkmaar in 1682. Dutch school; history and portrait painter, pupil of Pieter de Grebber and of the architect Jacob van Campen; was then employed by Prince Maurice of Nassau to paint frescos in the cupola of the Palace in the Wood, which established his reputation; went in 1648 to Rome, where he was intimate with Poussin; returned after three years, and lived successively at Amsterdam and Utrecht until 1672, when he removed to Hoorn. For the family of Bronckhorst he painted a series of historical and fabulous subjects, which were much admired.—Immerzeel, i. 291.

GRACES, THREE, Palma Vecchio, Dressden Gallery; wood, H. 3 ft. 1 in. × 4 ft. 4 in. Three young women, half-length, grouped in a landscape. Sometimes called Palma's daughters, but it is doubtful whether they were painted from three models or from one. In 1525 in collection of Taddeo Contarini, then in Giustiniani and Cornari families; bought from the Procuratessa Cornaro della Casa Grande for 600 ducats.—C. & C., N. Italy, ii. 480; Bottari, Raccolta, vii. 374.

Three Graces, Raphael, Duc d'Aumale, Chantilly.

By Raphael, Duc d'Aumale, Chantilly; wood, H. 6-3/4 in. × 4-3/4 in. Three Graces, nude, grouped in the classical form, each holding one of the apples of the Hesperides. Probably suggested by the antique marble group in the Opera del Duomo, Siena. Painted in Perugia in 1504-5? Passed from the Borghese Collection to M. Reboul,