great Eastern Window in St. Peter's Cathedral, York, previous thereto the History of Histories, likewise a Chronological Account of some Eminent Personages,’ York, 1763, 8vo. 11. ‘Divine Justice and Mercy displayed, set forth in the Birth, Life, and End of Judas Iscariot,’ York, 1772, 12mo (reproduced as miniature 4to reprints, No. 1, S. & J. Palmer [1840], 12mo). 12. ‘Historical Antiquities,’ a translation into English, with some additions, of Dr. Heneage Dering's poem, ‘Reliquiæ Eboracenses’ [York, 1772?], 8vo (rudely printed on coarse paper, without title; it was never regularly published, see Life, p. 208, and Davies, York Press, pp. 220–1). 13. ‘History of the Life and Miracles of Jesus Christ,’ York [n. d.], 12mo (verse). 14. ‘Piety displayed in the Holy Life and Death of St. Robert, Hermit of Knaresborough,’ York [n. d.], 12mo (there is a second edition with additions). 15. ‘The Life of Mr. Thomas Gent, Printer of York, written by himself’ [edited by the Rev. Joseph Hunter], London, 1832, 8vo (written by Gent in 1746, in his fifty-third year; the manuscript was discovered by Thorpe the bookseller in a collection from Ireland; many interesting passages used by Davies are entirely omitted by the editor).
[Gent's own life is the chief source of information; the original manuscript is in the possession of Mr. Edward Hailstone, who also owns Gent's manuscript book of music, as well as the most extensive collection of his publications known. See also R. Davies's Memoir of the York Press, 1868; Life by the Rev. George Ohlson (see No. 5 above); Southey's The Doctor, 1837, iv. 92–131; Ch. Knight's Shadows of the Old Booksellers, 1865; The Bibliographer, ii. 154–7; Upcott's English Topogr. ii. 1356, 1376, 1411; Gough's British Topogr. ii. 428; Notes and Queries, 5th ser. ii. 217, 7th ser. i. 308, 356, 436, 471, ii. 149, 218, 329.]
GENTILESCHI, ARTEMISIA (1590–1642?), painter, born at Rome in 1590, was daughter of Orazio Gentileschi [q. v.], from whom she received her first instructions in painting. She also worked under Guido Reni, and studied the style of Domenichino. She accompanied her father to England, and painted several pictures for Charles I, including ‘David and Goliath,’ ‘Fame,’ and a portrait of herself at an easel, which is now at Hampton Court. She quitted England, however, and returned to Italy before 1630, residing principally at Naples. She was renowned for her beauty and accomplishments as well as for her paintings. Scandal has been busy with her name; Lanière is said to have fallen a victim to her attractions in England, like the painter Romanelli of Viterbo at Naples, who painted her portrait. She was especially famous for her portraits, but produced other remarkable works, including a ‘Judith’ and a ‘Magdalen’ in the Pitti Gallery at Florence; the former, by some considered her finest work, displays a temperament hardly feminine. She also painted a nude figure of ‘Inclination’ for Michelangelo Buonarroti the younger, which was considered so indecorous by his descendants that they employed a painter to fit it with suitable drapery. She married Piero Antonio Schiattesi, and is said to have died in Naples in 1642.
[Authorities under Gentileschi, Orazio, also Bottari e Ticozzi's Lettere Pittoriche, vol. i.; Bardi's Galleria Pitti.]
GENTILESCHI, ORAZIO (1563–1647), painter, born at Pisa in 1563, was half-brother of the painter Aurelio Lomi, according to some accounts by a second marriage of their mother; but the account generally accepted is that he was the son of Giovanni Battista Lomi, Aurelio's father, and was placed at an early age under the charge of his maternal uncle, Gentileschi, at Rome, afterwards bearing his name. Gentileschi studied painting at Rome, and founded his style on the finest masterpieces there. He was employed by Pope Clement VIII on paintings in the library and other parts of the Vatican; he also painted for Cardinal Pietro Aldobrandini the tribune of St. Niccola in Carcere; for Cardinal Pinello a ‘Circumcision’ in Santa Maria Maggiore; for Cardinal Bentivoglio the portico of his palace; for Cardinal Scipione Borghese a summerhouse; also a large picture of ‘The Conversion of St. Paul’ in S. Paolo fuori le Mura, and other paintings in S. Giovanni Laterano, Santa Maria della Pace, and elsewhere. In the Palazzo Quirinale in 1616 and the Palazzo Rospigliosi he painted pictures in conjunction with his intimate friend, Agostino Tassi, the landscape-painter. In the Palazzo Borghese there is one of his finest paintings, ‘Santa Cecilia and S. Valeriano.’ In 1621, on the accession of Pope Gregory XV, he was induced by the Genoese envoy, Giovanni Antonio Sauli, to go to Genoa, where he painted fine works in the palaces of the nobility, especially that of Marc Antonio Doria at S. Piero d'Arena. Possibly he may have encountered Vandyck here. He was next invited to the court of Carlo Emmanuele I of Savoy at Turin, where he painted some excellent works. An ‘Annunciation’ by him was among the spoils removed by Napoleon to Paris, but was returned to the Turin Gallery (engraved in D'Azeglio's ‘Galleria di Torino’ and in the ‘Musée Napoléon’).
