Barberini picture), Venus, Borghese, Rome; Galatea (copy of Raphael's fresco), Accad. S. Luca, Rome; Madonna, Uffizi, Florence; Dance of Muses, Pal. Pitti, ib.; Madonna della Gatta, Naples Mus.; Nativity, Triumph of Titus and Vespasian, Venus and Vulcan, Madonna and St. John, Repose of Holy Family, and portrait of himself, Louvre; Madonna and Child, do. with St. John, and several others, Hermitage, St. Petersburg; Infancy of Jupiter, Vision of the Magdalen (fresco), Capture of Carthage, Continence of Scipio, Abduction of the Sabine Women, Nat. Gal., London; Juno and Hercules, Bridgewater House, London; Madonna with Saints, S. Francesco, Brescia; Madonna with Saints, S. M. dell' Anima, Rome.—Vasari, ed. Le. Mon., x. 87; ed. Mil., v. 523, 563; Burckhardt, 8, 128, 179, 180; Ch. Blanc, École ombrienne; Dohme, 2iii.
GIUNTA PISANO, of Pisa, first half of
13th century. First mentioned as master
in 1210, and still living at Pisa in 1255.
Frescos by him or by artists of his school
are in S. Pietro in Grado, near Pisa. He
is said to have painted in 1236, in the
upper church of S. Francesco Assisi, a Crucifixion
with Father Elias. Other pictures
in the Academy, and in the Campo Santo at
Pisa, are ascribed both to him and to Cimabue.—C.
& C., Italy, i. 166; Lübke, Gesch.
ital. Mal., i. 86; Vasari, ed. Le Mon., i. 221,
307; Morrona, Pisa Illustrata (Leghorn,
1812), ii. 116.
GIUSEPPINO. See Cesare, Giuseppe.
GIUSTO D'ANDREA DI GIUSTO, Florentine
school, flourished second half of 15th
century. Son of Andrea di Giusto, Masaccio's
assistant; worked under Neri di Bicci
in 1458-59, with Fra Filippo in 1460, and
assisted Benozzo Gozzoli in the Campo
Santo, Pisa. His style is a mixture of that
of Fra Filippo and of Gozzoli, but inferior
to both. By him are, perhaps, a Madonna
and Saints in S. Gimignano Gallery (attributed
to Gozzoli); do. in S. Girolamo, Volterra;
do. in Gallery Comunale, Prato; do.
in Florence Academy.—C. & C., Italy, ii.
516; Vasari, ed. Le Mon., ii. 258; iv. 191.
GIUSTO DI GIOVANNI. See Menaboi.
GLADIATORS (Combat de Gladiateurs),
Jean Léon Gérôme, Mrs. A. T. Stewart, New
York; canvas. Scene in the Coliseum, Rome.
The victor in a gladiatorial combat stands
over his prostrate foe and turns to the spectators
for the signal of life or death, given by
turning the thumbs, whence the picture is
sometimes called Pollice Verso.
GLAESER, GEORG, born at Altorf, near
Nuremberg, in 1719, died at Baireuth in
1748. Portrait and history painter; became
court-painter to Margrave Frederic of Baireuth,
who sent him to Vienna and then to
Italy, where he remained seven years.
Works: Death of Lucretia, Death of Cleopatra,
Germanic Museum, Nuremberg; Alexander's
Entry into India, Baptism of Christ,
Portrait of a Rabbi (1735), Landauer Brüderhaus,
ib.
GLAIZE, AUGUSTE (BARTHÉLEMY),
born at Montpellier, Dec. 15, 1813. Genre
painter, pupil of the brothers Devéria; belongs
to the realistic school; is more successful
with mythological than with Christian
subjects. Medals: 3d class, 1842; 2d
class, 1844, 1848, and 1855; 1st class, 1845;
L. of Honour, 1855. Works: Flight into
Egypt, Luca Signorelli lamenting his Son
killed in a Duel (1836); After the War
(1838); Faust and Marguerite, Angels coming
for the Body of the Magdalen (1839);
Vision of Saint Theresa (1841); Flight into
Egypt, Interior with Holy Family, Psyche
(1842); Women Bathing, Humility of Saint
Elizabeth (1843); Susannah at the Bath, St.
Elizabeth begging her Bread (1844); Acis
and Galatea (1845); Blood of Venus (1846),
Montpellier Museum; Dante writing under
the Inspiration of Beatrice and Virgil (1847);
Death of the Precursor (1848), Toulouse
Museum; Women of Gaul (1852), Autun
Museum; The Pillory (1855); What One sees
at the Age of Twenty (1855), Montpellier
Museum; Cupids at Auction (1857), Béziers
Museum; Before the Shop of a Money-
