with the graver in a slight feeble manner-Strutt. FYTT (John), a Flemish painter, who flourished about 1625. This artist was an excellent painter of all kinds of animals, to which he gave a natural, bold, and elegant expression. Nature seems to have been his constant study, and he imitated her with the utmost truth and exactness. He delighted much in painting live and dead game, wild boars, hares, dogs, fruit, flowers, and birds, particularly partridges; which he described with surprising truth, nature, and strength. He was one of the best artists of his time, and frequently painted in conjunction with Rubens and Jordaens; and whatever subject he chose to represent, was always designed and finished in a masterly manner. He gave uncommon freshness to his fruits and flowers; and in objects of the animal kind, he described even the hairs of the animals, and the plumage of his fowls, with wonderful spirit, exactness, and freedom of pencil. His colouring is strong, and his touch firm; and in all the pictures of this master we see a wonderful freedom of hand, and a manner of pencilling peculiar to himself, which easily distinguish the works of Fytt from those of any other master.Houb. Pilk. GAAL (Barent), a Dutch lands cape painter, who flourished about 1650. He was a disciple of Philip Wouermans, and by carefully studying the works of his master, as well as by diligently practising his precepts, he became a painter of considerable distinction. He had a good manner of pencilling, understood the principles of perspective, and managed his lights and shadows in all his compositions with great judgment. His figures and cattle are generally well designed and well disposed, and are also tolerably correct. G GABBIANI (Antonio Domenico), an Italian historical and portrait painter, born in 1652, and died in 1726, aged 74. He was a disciple of Subtermans and Vincenzo Dandini, and afterwards went to Rome, where he studied under Ciro Ferri. He was a ready and correct designer, and his colour, though sometimes languid, is generally true, and well united in the flesh tints. The greatest flaw of his style lies in the choice, hues, and execution of his draperies. His best work in fresco, is the vast cupola of Castello, which is not wholly finished. His best altar-piece is that of St. Filippo, in the church of the fathers Dell' Oratorio. He was killed by the fall of a scaffold as he was at work. Vas. There is much freedom in his trees, and many of his pictures are touched with spirit, the skies clear and pleasant, and his grounds well broken. He associated in his work with Isaac Koene, the landscape-Pilk. painter, for whom he always inserted the figures; and although he cannot be accounted an artist of the first class, yet his works have a great deal of merit, and are much esteemed.Pilk. GABRIEL (James), a French architect, born at Paris in 1661, and died in 1742, aged 81. He was inspector-general of buildings, and chief architect and engineer, and had the order of St. Michael conferred upon him.-Nouv. Dict. Hist. GABRIELLO (Onofrio), an Italian painter, born at Messina in 1616, and died in 1706, aged 90. After studying six years in his native city, under Antonio Ricci, he went to Rome, and entered the school of Pietro da Cortona. He afterwards visited Venice, in company with his countryman Domenico Maroli. On his return to Messina, he was much employed for the churches, for private collections, and in portraits. He was in great repute when the Revolution, which took place in 1674, obliged him to quit Sicily, and he settled at Padua, where he resided several years, and was usually called Onofrio Messina. Some of his best works are in the church of S. Francesco di Paolo, at Messina, and in the Guida di Padona are mentioned several of his pictures in the public edifices and in private collections, particularly in the Palazzo Borromeo.-Pilk. GABRON (William), a Flemish painter, born at Antwerp, in 1625; died in 1671, aged 46. He there learned the rudiments of his art; but he received his principal improvement in Italy, particularly at Rome, in which city he resided for a considerable number of years. This artist was much admired for his delicate imitation of those objects which he painted after nature; such as gold and silver vases, cups, dishes, china, porcelain ware, fruit, flowers, and insects; which he expressed with such truth, as to afford the eye a very pleasing deception. Pilk. GADDI (Gaddo), a Flemish historical painter, born 1239, and died 1312, aged 73. He was one of the first painters who imitated Cimabue; and was an expert artist in works of Mosaic. Gaddi designed better than all the other painters of his time, and performed several great works at Rome and other parts of Italy, particularly in Mosaic.-Pilk. GADDI (Taddeo), an Italian painter, born at Florence in 1300, and died in 1350, aged 50. He received his first instructions from his father, and was a disciple of Giotto. Taddeo had a good genius, which he strengthened by great application, and acquired such a manner of colouring as rendered him very much superior to his master. The figures of this ancient master were lively, and his expression highly commendable, considering the early age in which he painted; his invention was ingenious, and his designs were executed with great freedom and ease. His best picture is, the passion of our Saviour, which is preserved in the church of the Holy Ghost, at Arezzo. His son Agnolo was also an excellent artist.- Vas., Pilk. GADDI (Agnolo), an Italian painter, born at Florence in 1324, and died in 1387, aged 63. He was the son of Taddeo Gaddi, and received instructions in the art from his father, whose style he followed, without alteration or improvement. In the church of the monastery of S. Parnerazio, at Florence, is a picture of the Virgin and Infant, with several saints, which was well composed and coloured for the time; and in the church of the Conventuali, the Finding of the True Cross.-Pilk. GAELEN (Alexander Van), a Dutch historical painter, born in 1670, and died in 1728, aged 58.. He learned the art of painting under the direction of John Van Huchtenburg, who, besides his profession as a painter, was also a considerable. picture merchant; and Van Gaelen, before these pictures were exposed for sale, exerted himself in copying such of them as were of the best, GAI class, and of greatest value. Yet | ment. Among others, a set of he did not content himself with ob- views of the Antiquities of Aix. serving their imitations of nature, They are dated 1750.-Strutt. but studied nature itself, in other countries as well as his own. subjects were usually representations His of the chase, huntings of the fox, stag, or wild boar; and his animals were extremely commended for their action and spirit. His taste of composition and design was formed from the works of the many eminent artists which he had studied; and he obtained so great a freedom of hand, and such correctness of outline, that his pictures rose into very high esteem. He came to England when young, and his paintings procured him many marks of favour, as his merit seemed to be very well known in England. Van Gaelen painted Queen Anne, drawn by eight horses, attended by her guards; which he executed with such great success, that it contributed to the advancement of his fortune and reputation. He also was engaged to paint three battle-pieces, representing engage. ments between King Charles 1. and Oliver Cromwell; and a large design of the decisive battle of the Boyne, between the armies of King William III. and James II.-Houb., Pilk. GAINSBOROUGH (Thomas), painter, born at Sudbury, in Suffolk, an English portrait and landscape 1727, and died in 1788, aged 61. He was self-taught, nature was his teacher, and the woods of Suffolk his academy. Here he would pass in solitude his mornings, in making a sketch of an antiquated tree, a marshy brook, a few cattle, a shepherd and his flock, or any other accidental object that presented itself. From delineation he proceeded to colouring; and after painting several landscapes, from ten to twelve years of age, he quitted Sudbury, and came to London, where he commenced portrait painter. His portraits will pass to posterity with a reputation equal to those of Vandyck; and his landscapes will establish his name on the record of the fine arts with honours such as never before attended a native of this country. He painted his subjects with a faithful adherence to nature; and it is to be remarked, that they approach more the landscapes of Rubens than to those of any other master. His trees, fore-ground, and figures, have add, that he united the brilliancy of much force and spirit: and we may Claude, and the simplicity of Ruys. dael, to his romantic scenes. While we lament him as an artist, let us not pass over those virtues which were an honour to human nature; that generous heart, whose strongest GAILLARD (Robert), a French engraver, born at Paris in 1722. We have by this artist a considerable number of plates of portrait, historical, and other subjects. He also engraved landscapes, in a style that does him great credit. The following are his best prints: Car-propensities were to relieve the dinal Etienne Rene' Potier de Gesvres; Christophe de Beaumont, Archbishop of Paris; Jean Joseph Languet, Archbishop of Sens; and the Queen of Sweden.-Strutt. GAILLARD (Longjumeau), a French amateur engraver, who etched several small plates for his amuse genuine claims of poverty. If he selected for the exercise of his pencil an infant from a cottage, all the tenants of the humble roof generally picture; and some of them freparticipated in the profits of the quently found in his habitation a permanent abode. His liberality was not confined to this alone; needy branches of art which he usually relatives and unfortunate friends practised. He was employed by the were further incumbrances on a Grand Duke, and gained universal spirit that could not deny; and commendation for the neatness of owing to this generosity of temper, his finishing, and the beauty of his. that affluence was not left to his colour.-Pilk. family which so much merit might promise, and such real worth deserve. -Europ. Mag., Pilk. GALANTINI (Hipolito), an Italian historical and miniature painter, born at Genoa in 1627, and died in 1706, aged 79. He was instructed in the art of painting in miniature by Stefaneschi; in which style he became very eminent, and showed an equal degree of merit in his larger compositions. He was called Cappuccino, from his having entered into orders among the Capuchins at Florence; by undertaking which profession, he was obliged to travel into Asia as a missionary, and on that account was called Prete Genoese. On his return to Europe, happening to pass through Paris, he was known to be a famous miniature painter, and was introduced to the King of France, who requested Hipolito to paint several pictures for him; and from that moment he received many extraordinary marks of favour. His style was agreeable, his colouring very delicate, and his expression is exact and full of life. In the Duke's palace at Florence, there is an admirable picture by this master, in which the figures are only halflength, but as large as life. The subject is the Payment of the Tribute Money; it is accounted one of the most capital performances of Galantini, and is executed with uncommon freedom and neatness of pencil. Vas., Pilk. GALETTI (Filippo Maria), an Italian portrait painter, born at Florence in 1664, and died in 1742, aged 78. He was a disciple of Ciro Ferri, and became excellent in those GALIMARD (Claude), a French engraver, born at Troys, in Champagne, in 1729. He passed some time at Rome; and on his return to France became a member of the academy at Paris. He engraved several plates after de Troy, Subleyrus, and Sebastian Bourdon. He also engraved a number of ornaments for books, of which fourteen frontispieces and vignettes, after Cochin the younger, are particularly described by M. de Heincken.—Strutt. GALIZIA (Fede). This lady was a native of Trento, in the Milanese, and flourished about the year 1616. She was the daughter of A. Galizia, a miniature painter, resi-, dent at Milan, from whom she received her instruction in the art. She painted history and landscapes in a pleasing and finished style, resembling that of the Bolognese school. One of her best historical pictures is Christ appearing to Magdalen in the form of the Gardener, in the Chiesa della Magdalena at Milan.-Strutt. GALLE (Philip), an eminent Dutch engraver, born at Haerlem about 1537. He was the origin of a family of artists, who became conspicuous in the art of engraving. Philip Galle established himself at Antwerp as an engraver and printseller. He possessed considerable capacity; his design was not incorrect, and his command of the graver shows considerable facility, though, like other engravers of his time, there is a want of harmony and effect in his plates. The number of his prints is considerable.~ Strutt. R 3 GALLE (Theodore). He was the elder son of the foregoing artist, born at Antwerp about the year 1560, and was instructed in the use of the graver by his father. He afterwards went to Rome, where he improved his style of drawing by studying the antique, and engraved several plates of the great masters. His plates are more neatly finished than those of his father; but there is still a degree of stiffness, and a want of effect in the management of the light and shadow.-Strutt. GALLE (Cornelius the Elder). This artist was the younger son of Philip Galle, born at Antwerp about 1570, and was also instructed in engraving by his father. He followed the example of his brother in visiting Rome, where he resided several years, and acquired a correctness of design, and a freedom and facility of execution, which are discernible in his plates, in which he greatly surpassed his father and brother. After engraving several plates at Rome, from the Italian masters, he returned to Antwerp, where he carried on the business of a printseller, and engraved many plates, after the works of his conntrymen and his own designs. Previous to his going to Italy, he engraved some plates in the dry stiff style of his father. Strutt. GALLE (Cornelius the Younger). He was the son of the preceding artist, born at Antwerp about the year 1600, and was instructed in the art by his father. It does not appear that he had the advantage of studying in Italy, which may account for his drawing being less correct than that of his father or his uncle. He worked entirely with the graver; and though he did not equal Cornelius Galle the Elder in the freedom and clearness of his style, his plates possess considerable merit, particularly his portraits, which are, perhaps, the best of his works.— Strutt. GALLOCHE (Lewis), a French historical painter, born in 1670, and died 1761, aged 91. He was a disciple of Boullogne, and the master of Le Moine. Galloche was ap pointed recorder and chancellor of the Royal Academy in 1761.—D'Argenville. GAMBARA (Lattanzio), an Italian painter, born at Brescia in 1542, and was killed by a fall from a ladder in 1574, aged 32. He was the son of a tailor, driven by necessity from his native city, who had taken refuge at Cremona, and supported himself and son in a scanty subsistence by the exercise of his trade, which he destined him to follow. The disposition of the boy inclined him to a different pursuit, and he employed all his leisure moments in sketching, for which he was not unfrequently severely chastised by his father. These quarrels, and their cause, came to the knowledge of Antonio Campi, a painter of Cremona, who interested himself in favour of the youth; and, on examining his drawings, found they discovered a lively and decided genius, and prevailed on his father to intrust him to his care. He studied in the school of the Campi for six years; and when he was eighteen years of age, he was placed under the tuition of Girolamo Romanino, and became his favourite disciple. He entertained a high opinion of his talents, and ultimately gave him his daughter in marriage. He surpassed his father-in-law, both in the correctness of his designs and in the grandeur of his compositions. To the great principles he had acquired under the Campi he added the charm of Venetian colouring, in which he approached the rich tones |