GIOBDANO— GIOTTINO. 76 Escnrial; he returned to Naples after the King's death, in 1702, where he died immensely wealthy, and with the repatation of the greatest painter of bis age. Works, In the church de* Padri Girolamini, at Naples, the firesco of Christ driving the Bayers from the Temple : others in Santa Brigida : the ceiling frescoes of San Martino: the Judgment of Paris, in the Berlin Mu- seum : the Taking Down from the Gross, at Schleissheim : and some others at Munich, Dresden, and St. Petersburg, are among his most cha- racteristic works. He also executed some beautiful etchings. {Dominici.) GIORGIONE, the common desig- nation, from his large stature, of Gi- OBGio Barbarellt, of Castelfranco, b. 1477, d. 1511. Venetian School. This distinguished painter was the fellow pupil and rival of Titian, in the school of Giovanni Bellini. The early works of Gorgione are somewhat hard in the outlines, after the manner of the quat- trocento painters. But he soon eman- cipated himself from the constraint to which art was at that time subject, and displayed a freedom and largeness of design, and a modified breadth of colour, combined with richness, and an effective hght and shade hitherto unknown, at least in Venice. He was further distinguished for a general ob- jective truth of representation ; Vasari says he never painted without a model. His pictures are evidently accurate in costume, and the, various stuffs are admirably painted. Giorgione executed many works in fresco, but these have, all perished, and as he painted many portraits, his more important works in oil were never nu- merous, and those that can be posi- tively certified are very few. Giorgione is said to have owed much of his enlargement of style to the works of Leonardo da Vinci; but he went beyond him in breadth of effect, and still more in colour. His early pic- tures sometimes contain allegorical allusions not always easy to be under- stood. He excelled most of the Vene- tians in his landscape backgrounds; they have a great clearness and warmth of colour, and a massive breadth of foliage, then new, but which eventually became characteristic of the Venetian painters. The Manfrini Gallery con- tains some fine portraits by Gior- gione. Works, Treviso, in the Monte di Tieikf an Entombment, or Pieta, fresco. Venice, the Academy, a Sea Storm allayed by St. Mark, &c. ; a por- trait: Scuola de' Sartori, Sant' Omo- bono : Manfrini Gallery, the Astrologer (an early work) ; a Lady with a Lute, the daughter of Palma Vecchio. Bres- cia, Lecchi Gallery, Orpheus and Eu- rydice : Cathedral, a Nativity. Flo- rence, Uffizj, a Warrior, with Esquire ; a Maltese Knight; a Judgment of Solomon ; the Infant Moses and Pha- raoh ; an allegory : Pitti Palace, a Con- cert; a Nymph pursued by a Satyr; the Finding of Moses. Rome, Borg- hese Gallery, Heads of Saul and Da- vid. Milan, Brera, St. Sebastian ; the Ambrosiana. Vienna, Imperial Gal^ lery, David with the Head of Goliath. Dresden Gallery, Jacob meeting Ra- chel. Munich Gallery, Vanity; and the portrait of Himself. Leuchtenberg Gallery, the Adoration of the Shep- herds; a Madonna and Child; Hero- dias with the Head of John the Bap- tist. Berlin Gallery, two Portraits. Louvre, a Holy Family, with St. Se- bastian and St. Catherine; a Rural Concert. England, National Gallery, the Death of St. Peter Martyr ; and a Warrior adoring the Virgin, attributed to Giorgione. {Vasari, Ridolji.) GIOTTINO, ToMMASo di Stbfano, called GiOTTiNO, h. 1324, living 1368. Tuscan School. This painter is said to
