Academy; Peasant Woman in Studio; Labor in Vain; View in Siena.—Müller, 204; Zeitschr., xiii. 375.
GHENT, JUSTUS OF. See Justus of
Ghent.
GHERARDO DALLE NOTTI. See
Honthorst.
GHERINGH, ANTON, died at Antwerp
in 1668. Flemish school; architecture
painter, master of the guild at Antwerp in
1662. Works: Church Interior (1664),
Dresden Museum; Interior of Jesuit Church
at Antwerp (1663), Old Pinakothek, Munich;
do. (1665), Vienna Museum; do., Madrid
Museum.—Rooses (Reber), 435; Van den
Branden, 1035.
GHIRLANDAJO, BENEDETTO BIGORDI
called, born in Florence in 1458,
died there, July 17, 1497. Florentine
school. Brother of Domenico Ghirlandajo,
for whom he chiefly worked during the great
painter's lifetime. To this mediocre painter,
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.
& C., Italy, iii. 518; Vasari, ed. Le Mon.,
xi. 284.
GHIRLANDAJO, DAVID BIGORDI
called, born in Florence, March 14, 1452,
died there in 1525. Florentine school.
Brother of Domenico and Benedetto; master
in guild of Florence when Domenico
died. He was a mere mechanical workman,
with little talent, but superior to Benedetto.
Employed himself chiefly with mosaics.
David assisted his nephew Ridolfo
in painting the Madonna della Misericordia,
S. Felice, Florence.—C. & C., Italy, iii. 520;
Burckhardt, 639.
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GHIRLANDAJO, DOMENICO, born in
Florence in 1449, died there, Jan. 11, 1494.
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 received
instruction
from
Alesso Baldovinetti,
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 Last
Supper in the refectory give no very high
idea. In those representing the Apotheosis
of St. Zanobius, the Madonna, and several
Roman heroes afterwards executed in
1481 in the Sala dell' Orologio, Palazzo Vecchio,
the style is still unformed, though advance
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 follower
of Masaccio in composition. The dignity
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 impressive
and effective picture. In his next work,
the frescos in the Chapel of S. Fina, San
Gemignano (before 1485), Ghirlandajo manifested
a hitherto unrevealed grace and tenderness,
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 executed
the frescos of the Life of St. Francis
(1485) in the Sassetti Chapel, S. Trinità,
Florence, in which he gave the whole measure
of his admirable powers. Here landscape
and architectural backgrounds with
