GHENT Academy; Peasant Woman in Studio; Labor in Vain ; View in Siena. M filler, 204 ; Zeitschr., xiii. Ii75. GHENT, JUSTUS OF. See Justus of' Ghent. GHERARDO DALLE NOTTI. See Honthorst. GHEHINGH, ANTON, died at Antwerp in 1008. Flemish school ; architecture painter, master of the guild at Antwerp in 1GG2. Works : Church Interior (1004), Dresden Museum ; Interior of Jesuit Church at Antwerp (1GGU), Old Pinakothek, Munich ; do. (1005), Vienna Museum ; do., Madrid Museum. Rooses (Ileber), 435 ; Van den Branden, 1035. GHIHLANDAJO, BENEDETTO BI- GORDI called, born in Florence in 1458, died there, July 17, 1407. Florentine school. Brother of Domenico Ghirlandajo, for whom he chieflyworked during the great painter's lifetime. To this mediocre paint- er, who lived several years in France, and was richly recompensed by the king, are ascribed a Resurrection, Berlin Museum ; St. Lucy, in S. M. Novella, Florence ; and a Christ on the way to Golgotha, Louvre. C. A: C., Italy, iii. 518 ; Vasari, ed. Le Mon., xi. 284. GHIRLANDAJO, DAVID BIGOUDI called, born in Florence, March 14, 1452, died there in 1525. Florentine school. Brother of Domenico and Benedetto ; mas- ter in guild of Florence when Domenico died. He was a mere mechanical work- man, with little talent, but superior to Bene- detto. Employed himself chiefly with mo- saics. David assisted his nephew Ridolfo in painting the Madonna della Miscricordia, S. Felice, Florence. C. & C., Italy, iii. 520; Burckhardt, G39. GHIRLANDAJO, DOMENICO, born in Florence in 1449, died there, Jan. 11, 1404. Florentine school. Real name Domenico di Tommaso Curradi di Dosso Bigordi ; took his surname from his father, a goldsmith, who was called Ghirlandajo (garland-maker) from the wreaths of gold and silver, worn as head- ornaments, which he made. Domenico's earliest recorded works were painted about 1480, before which he had perhaps re- ceived in- struction from Alesso Baldo- vinetti, and had learned much by studying the masterpieces of Masaccio at the Carmine. He began his career by decorating the Vespucci chapel in the Ogni Santi, Florence, with a series of frescos, now destroyed, of whose quality a St. Jerome in the church and a IMXI Supper in the refectory give no very high idea. In those representing the Apothe- osis of St. Zanobins, the Madonna, and sev- eral Roman heroes afterwards executed in 1481 in the Sala dell' Orologio, Palazzo Vec- chio, the style is still unformed, though ad- vance in technic is manifest. Called to Rome by Sixtus IV. in 1482, Ghirlandajo painted the Calling of Peter and Andrew upon the walls of the Sistine Chapel (finished before 1484), in which he showed himself a fol- lower of Masaccio in composition. The dig- nity of the Saviour, the somewhat formal though varied grouping of the attendant figures, and the vast landscape which fills the background combine to form an impres- sive and effective picture. In his next work, the frescos in the Chapel of S. Fina, San Gemignano (before 1485), Ghirlandajo mani- fested a hitherto unrevealed grace and ten- derness, especially in that which represents the body of the Saint lying on a bier. After painting a Last Supper in the Convent of S. Marco, Florence, which is little varied from his first in the Ogni Santi, Ghirlandajo exe- cuted the frescos of the Life of St. Francis (1485) in the Sassetti Chapel, S. Trinita, Florence, in which he gave the whole meas- ure of his admirable powers. Here laud- scape and architectural backgrounds with 132
