GIOTTO— -GOZZOLI. 77 oriticiBin, that Giotto, Masaccio, and Giorgione, painters who have all marked eras, have received the greatest praise for works which time has shown to have been erroneously attributed to them. Epochs must necessarily be established more by co-operation than by individual efforts. Works, Assisi, lower church of San Francesco, allegorical representation of the Three Vows of the Franciscans, "Poverty, Chastity, and Obedience" (and* possibly Mars). Florence, the Hall of the Podesta, the Common- wealth, under the form of a Judge : in the chapel of the same, the portraits of Dante, Brunetto Latini, and Corso Donati: Academy, twenty-two repre- sentations, parallels from the lives of Christ, and of St Francis : Santa Croce, a Coronation of the Virgin in the Baroncelli Chapel. Eome, in the Vestibule of St. Peter's, the mo- saic of the ** Navicella." Padua, in the Arena Chapel, forty-three frescoes of scenes from the History of the Virgin and of Christ; allegorical figures of Vir- tues and Vices ; and a large representa- tion of the Last Judgment. Berlin Gal- lery, a Madonna and Child ; the Descent of the Holy Ghost; and a Miracle per- formed by St. Francis. Paris, Louvre, St. Francis receiving the Stigmata. {VcLsari, Rumohr,) GIUNTA. [PiSANO.] GIUSTI, Antonio, h. at Florence, 1624, d, 1705. Tuscan School. He studied under Cesare Dandini and Mario Balassi, and painted with ability landscapes and animals, as well as portraits and history. {Lanzi.) GIOVENONE, GmoLAMO, of Ver- celli, living 1514-16. Milanese School. In the church of the Augustines, at Milan, is a picture of the Besurrection, by Giovenone, who was the first master of Gaudenzio Ferrari. {Lanzi.) GOZZOLI, Benozzo, h. at Florence 1424, living 1485. Tuscan School He was the son of Lese di Sandro, and the scholar of Fra Angelico da Fiesole; his early works, those in the cathedral at Orvieto, in the churches of San Fortunate and San Francesco at Monte- falco, display a great affinity with those of his master, in their gentle simplicity of expression and cheerful colouring ; the first were painted with Fra Gio- vanni : later, however, he displayed pe- culiarities differing widely from the characteristics of that painter, as in the Biccardi Chapel, and in the Campo Santo of Pisa. His peouUar taste was as decidedly objective as that of Fra Angelico was subjective. Benozzo de- lighted in the beauty of the material world, and he loved to represent Nature under all its picturesque aspects. He displays the most varied resources in his rich landscape backgrounds, which he was about the first to introduce — ^in the architectural accessories and deco- rations, and in the introduction of all kinds of birds, animals, &o., in the scene, especially dogs. He introduced also portraits, and was fond of crowds of figures ; these, when taken singly, are often graceful, and always natural ; but he did not quite attain to the mas- culine character and substantial style of the figures of his great model, Ma- saccio. Benozzo's are the first works having ^al pretensions to high quali- ties of art which were executed in the Campo Santo, yet, though admirable and charming as some of these works are — as the Drunkenness of Noah, the Marriage of Bebecca, and Moses in the "Wilderness — our praise requires some modification when we recollect that Benozzo was still living in Ba- phaeVs infancy ; he belongs to Vasari's second period, and was, on the whole, one of the greatest of the quattrocen- tisti. Works. Orvieto, in the chapel of the Madonna di San Brizio (1447), the Apostles and Martyrs, which form a
