Paris, who awarded it to Venus, that goddess having promised him Helen of Sparta for his wife, led to the Trojan war. In Turner's picture, a glorious mountain landscape, with the River Lethon and nymphs in foreground, the Goddess of Discord is seen receiving the apple from the Hesperides; in the background, the fiery dragon is lying at length along the summit of a lofty crag. British Institution, 1806. Engraved by T. A. Prior in Turner Gallery.
GODS AND THEIR MAKERS, Edwin
Long, Thomas Taylor, London; canvas, H.
4 ft. 9 in. × 7 ft. 9 in. Interior of an Egyptian
studio, with grotesque images against
the wall; at right a sculptor modelling a cat
after a living model, held by a negress; at
left, young girls seated on floor painting
images. Royal Academy, 1878; sold at
Thomas Taylor's sale (1883), for £2,725.
GOES, HUGO VAN DER, born in Ghent
about 1430, died in the Rooden Cloister,
near Brussels, in 1482. Flemish school;
history and portrait painter. In 1465 he
was a member, and in 1473-75 dean, of the
painters' guild at Ghent, where, in 1468, he
assisted in preparing decorations for the
marriage of Charles the Bold and Margaret
of York. About 1475 he took refuge in the
Rooden Cloister, of the Augustine Choir-Masters,
whence, in 1479-80, he was called
to Louvain, as one of the greatest painters
in the country, to value an unfinished picture
by Dierick Bouts. About 1481 he became
insane. The one authentic picture by
Hugo van der Goes is the altarpiece in the
Hospital of S. Maria Nuova, Florence, which
was ordered at Bruges by Tommaso Portinari,
and painted about 1470-75. The middle
picture represents the Adoration of the
Shepherds; on the wings are the portraits
of Tommaso Portinari and his two sons,
presented by SS. Matthew and Anthony,
and of Folco Portinari, with his wife and
daughter and their patron saints, Margaret
and Mary Magdalen. Heads earnest and
severe, draperies broken into stiff folds,
colour wanting in harmony, cold, though
clear in tone. Attributed to him is also an
Annunciation in the Old Pinakothek at Munich.—Allgem.
d. Biogr., ix. 322; Ch. Blanc,
École flamande; Ed. De Busscher, Recherches
sur les peintres Gantois, 65, 105, 113,
117, 205; C. & C., Flemish Painters, 155;
Förster, Denkmale, XI. iii. 1; Immerzeel,
ii. 62; Kramm, iii. 764; Wauters, Hugues
van der Goes, etc. (Brussels, 1872); W. &
W., ii. 27.
GOETZLOF, KARL WILHELM, born in
Dresden in 1803, died at Naples in 1866.
Landscape painter, went to Italy in 1823;
member of Dresden Academy in 1835.
Sorrento, Capo di Monte, Naples, with
dancing Italians (1830), Kunsthalle, Hamburg;
Two Scenes from Taking of Catania,
Berne Museum.
GOLDEN CALF, Claude Lorrain, Grosvenor
House, London; canvas, H. 4 ft. 7 in.
× 8 ft. 1 in.; dated 1653. Companion to
Sermon on the Mount. The golden calf
upon a high pedestal in a rocky valley, with
Israelites worshipping it. Liber Veritatis,
No. 129. Engraved by Jazet, Paris, by
Lerpinière (1781), and in Grosvenor Gallery.
Study in bistre, British Museum;
sketch in Louvre.—Pattison, Claude Lorrain,
73, 218, 234; Waagen, Treasures, ii.
171.
GOLDEN CALF, Tintoretto. See Moses
on the Mount.
GOLDEN HORN, Sandford R. Gifford,
private gallery, New York; canvas, H. 2 ft.
3 in. × 4 ft. The harbour of Constantinople,
so named in ancient times from the wealth
of its commerce. The picture shows an expanse
of rippled water, to which the noon-*day
sun gives a golden glow; on each side
rows of shipping extend back until almost
lost in the golden haze through which the
roofs and spires of the city are just visible.
GOLDMANN, OTTO, born in Berlin,
April 8, 1844. Genre painter, for a short
time pupil of Berlin Academy; since 1878
has followed the realistic manner of Karl
Gussow. Works: Not Alone? Check and
Mate? In Great Expectation; Disturbed
