Page:Cyclopedia of painters and paintings (IA cyclopediaofpain02cham).pdf/153

local features are used to set off groups of figures conceived in a spirit of noble realism; the compositions are formed in the spirit of Masaccio; the heads, many of them portraits, are drawn with the accurate and faithful pencil of a Holbein. In the portraits of the donors, Francesco Sassetti and his wife Nava, Ghirlandajo equalled the great German master in truth, in character, and in modelling. The altarpiece of this chapel, an Adoration of the Shepherds (1485), is now in the Florence Academy. Even more important than the frescos at S. Trinità are those of the Life of the Virgin (1490) in the choir of S. M. Novella. Among them, the Birth of the Virgin is a typical example of Ghirlandajo's style. Of the former altarpiece of this chapel, the Munich Gallery possesses the Madonna appearing to St. Dominic and other Saints, together with side-*panels of Saints Catherine and Laurence; and the Berlin Museum the Resurrection of Christ and Saints. Other works by Ghirlandajo are, a Madonna with Saints, and a predella, sacristy of S. Martino, Lucca; Madonna with Saints and Adoration of the Magi (1487), Adoration of Shepherds (1485, Uffizi), Florence; Madonna with Saints, Academy, ib.; Adoration of the Magi (1488), Chapel of the Hospital of the Innocenti, ib.; Christ in Glory, Palazzo Publico, Volterra; Visitation (1491), Louvre; St. Anthony, New York Museum.—C. & C., Italy, ii. 459; Vasari, ed. Mil., iii. 253, 279; Dohme, 2i.

GHIRLANDAJO, RIDOLFO BIGORDI called, born in Florence, Feb. 14, 1483, died there in 1561. Florentine school; son of Domenico; brought up under guardianship of his uncle, David. Vasari says he studied under Fra Bartolommeo, but he was probably most indebted for guidance in art to Granacci, Piero di Cosimo, and perhaps Rosselli. His Procession of Christ and the Marys to Calvary, in Palazzo Antinori a S. Gaetano, Florence, and his Coronation of the Virgin (1504), Louvre, are among his earliest works. Later works show the influence of Fra Bartolommeo and of Raphael, as the Nativity, Berlin Museum; Nativity, Eszterhazy Collection, Vienna; and a predella in the Oratory of Bigallo, Florence. Raphael had great esteem for his talent, and vainly tried to persuade him to join him in Rome in 1508, as Ridolfo was satisfied with his success in Florence. His skill reached its highest point in his richly-*coloured, well-composed, and expressive St. Zanobius raising a Dead Child, and the Burial of St. Zanobius, Uffizi, Florence. His Madonna dropping her Girdle to St. Thomas is in the church at Prato, and M. della Misericordia in S. Felice, Florence. Ridolfo became the most noted painter of his time in Florence, where he executed many commissions for the Medici.—C. & C., Italy, iii. 518; Vasari, ed. Le Mon., xi. 284; Marchesi, ii. 141; Ch. Blanc, École florentine.

GHISOLFI (Grisolfi), GIOVANNI, born in Milan in 1632, died there in 1683. Roman school; architecture, landscape, and history painter, pupil in Rome of Salvator Rosa; esteemed as a painter of architecture, he devoted himself after his return to Milan to large histories and altarpieces, and executed frescos for the Certosa of Pavia and the Santuario of Varese. Works: Ruins of Carthage, Ruins of Splendid Buildings, Ships in a Seaport, Dresden Museum; Ruins (2), National Gallery, Edinburgh.

GIACOMELLI, HECTOR, born in Paris of foreign parents; contemporary. Bird and flower painter in water-colours. L. of Honour, 1878. Works: Birds and Flowers (1878, 1879); Wounded (1879); Perch in a Cage, Farniente (1883).

GIACOMOTTI, FÉLIX HENRI, born at Quingey (Doubs), Nov. 18, 1828. French school; genre and portrait painter, pupil of Picot and the École des Beaux Arts; won the grand prix de Rome in 1854. In 1859 he sent to the Salon his portraits of Edmond