He was marine painter to the court under Louis Philippe and Napoleon III. Medals: 2d class, 1824; 1st class, 1848, 1855; L. of Honour, 1828; Officer, 1841; Commander, 1855. Works: Return of the Fishermen, Burning of the Kent (1827); Rescue of the Passengers of the Colomb, Frigate Siren in a Gale, Explosion of the Emperor's Fort at Algiers, View of Constantinople looking to-*ward Pera, View of Salenelles at the Mouth of the Orne, Schooner Hazard captured by Boarding (1830 to 1840); On the Shore of the Channel, Evening on the Shore of the North Sea (1879), Sunrise on the Ile de Bourbon, Sun rising over Vesuvius (1880); Sixty Marines (1838-55), Versailles Museum; View of Havre, Avignon Museum; Devotion of Captain Desse, Bordeaux Museum; Others in Nantes, Perpignan, and Rodez Museums; Coast Scene, Brussels Museum; Fishermen on the Beach, Kunsthalle, Hamburg; View on French Coast (1826), Schwerin Gallery; Coast of Brittany (1844), Smugglers on Coast of Biscay (1845), National Gallery, Berlin; Coast Scene (1839), Storm at Sea (1843), Ravené Gallery, ib.; Shipwreck on Coast of Genoa (1837), Agitated Sea (1839), Leipsic Museum; Naval Battle in Time of Louis XIV. (1852), Dresden Gallery; Agitated Sea with Vessels, Basle Museum.—Art Journal (1880), 300; Bellier de la Chavignerie, i. 706; Kunst-Chronik, xv. 450; Illustr. Zeitg. (1880), i. 37.
GUELDRY, JOSEPH FERDINAND,
Genre and portrait painter, pupil of Gérôme;
member of Inst. Medal, 3d class, 1885. Works:
Regatta at Joinville (1881); Arrival from
Cruise (1882); Ferry-man at Bry-sur-Marne
(1883); On the Bluff (1884); Foundry (1885).
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GUERCINO, IL, born at Cento, Feb. 8,
1591, died in Bologna, Dec. 22, 1666. Bolognese
school. Real name Giovanni Francesco
Barbieri, but called Guercino because
he squinted. Son of a peasant and mostly
self-taught, but studied the works of the
Carracci; afterward studied under Benedetto
Gennari and later in Venice and Bologna.
Went to Rome in 1621, returned
to Cento in 1623, and in 1642 established
himself in Bologna. His house in Cento,
Casa di Guercino,
contains many of his
works; others are
in the Church del
Rosario. His statue
by Galletti is in the
Piazza. Guercino
painted at first in
the manner of the
Carracci, but after-*ward
inclined to imitate Caravaggio, and a
few of his latest works approach the manner
of Guido; but he is very unequal, and
some of his pictures are crude and marked
by an insipid mannerism. His masterpiece
is St. Petronilla raised from the Tomb, Capitoline
Gallery, Rome. Works: Investiture
of St. Guglielmo (1620), St. John Evangelist,
Death of St. Peter Martyr, Vision of St.
Bruno in the Desert, Bologna Gallery; St.
Sebastian (2), Madonna della Rondinella,
Apollo and Marsyas, St. Peter raising Tabitha,
Moses, St. Peter, Susanna at the
Bath, Palazzo Pitti, Florence; Samian Sibyl
1651), Endymion, Uffizi, ib.; Dying Cleopatra,
Death of Cato, Holy Family, Palazzo
Brignoli-Sale, Genoa; Mutius Scævola, Palazzo
Palavicini, ib.; Andromeda, Death
of Cleopatra, Palazzo Balbi, ib.; Dismissal
of Hagar, Brera, Milan; Magdalen, Marriage
of St. Catherine, Deposition, Naples
Museum; Mater Dolorosa, Return of the
Prodigal, Palazzo Borghese, Rome; Persian
Sibyl, St. Petronilla, Cleopatra and Octavius,
John Baptist, Capitol Gallery, ib.; Aurora,
Fame with Force and Virtue, Palazzo
Ludovisi, ib.; Christ at the Well, Ecce
Homo, St. Jerome, Palazzo Corsini, ib.;
Death of Dido, Palazzo Spada, ib.; Incredulity
of St. Thomas, St. Margaret of Cortona,
Magdalen, Vatican, ib.; Martyrdom
of St. Peter, Mars, Venus and Cupid, Modena
Gallery; Ecce Homo, St. Francis of
Assisi, St. Jerome, St. Elizabeth Queen of
Hungary, St. James, St. Frances, Return of
Prodigal, and others, Turin Gallery; Ma-
