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.
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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,
A.D. 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.
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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
