at Portsmouth until 1814. He exhibited his first marine in 1816, became painter to the Duke of Angoulême in 1817, and in 1833 director of the Museum of Rouen. Medals in 1819 and 1855; L. of Honour, 1852. Works: Tower of London, Three-*decker cast on the Rocks, A Storm, Roadstead with Vessels (1819); View of the Scheldt (1833), Douai Museum; Battle of Augusta, 1676 (1836), Battle of Navarino, Napoleon's Return from Elba, Versailles Museum; View of Sidon at Sunset, Boulogne Museum; Capture of the Kent by the Corsair Confiance (1836), La Rochelle Museum; Cod-Fishing on Banks of Newfoundland (1839), Rouen Museum; Frigate Virginie attacking English Squadron, Rochefort Museum; Incident in Battle of Navarino (1853), Nantes Museum; Porpoise-Fishing, Cherbourg Museum; View of the Furnes Canal (1855), Marseilles Museum.—Bellier de la Chavignerie, i. 607; Larousse; Lejeune, Guide, iii. 105; Art Journal (1858), 24.
GARNIER, ÉTIENNE BARTHÉLEMY,
born in Paris, Aug. 24, 1759, died Nov. 16,
1849. French school; history and portrait
painter, pupil of Durameau, Doyen, and
Vien, studied afterwards in Rome; painted
scenes from Greek and Roman history and
mythology, in the shallow theatrical pathos
of his time, but with skill and effective colouring.
Member of Institute in 1816; L. of
Honour, 1828. Works: Nebuchadnezzar
causing the Children of Zedekiah to be
Killed (1787), Mans Museum; Desolation
of Priam's Family (1800), ordered by the
Directory; Roman Charity, Diana appearing
to Hercules (1801); Napoleon (1808);
Burial of Dagobert (1814), Sacristy of St.
Denis; Eponina and Sabinus (1814), Angers
Museum; Procession of St. Charles Borromeo
during the Plague at Milan (1827),
Church of St. Germain; St. Louis arbitrating
between the King of England and his
Barons (1827); Reception of the Duke of
Angoulême at Chartres on his Return from
Spain (1831); Entry of Duke and Duchess
of Angoulême into Chartres, 1823 (1827),
Chartres Museum; Portrait of Cardinal
Maury (1838), Avignon Museum; Marriage
Ceremony of Napoleon and Marie Louise
(1846), Versailles Museum.—Bellier de la
Chavignerie, i. 610; Larousse; Lejeune,
Guide, iii. 105.
GARNIER, JULES ARSÈNE, born in
Paris, Jan. 22, 1847. Genre painter, studied
first in Toulouse, then pupil of Gérôme
in Paris; travelled in Holland, Spain, and
Morocco, paints mediæval subjects with extreme
archæological accuracy. Works: The
Bather, Mlle. de Sombreuil drinking a Glass
of Blood (1869); Adam's Dream, Jus Primæ
Noctis (1872); Vassals' Taxes Débris (1873);
Le Roi s'amuse (1874); Execution in 16th
Century, Nude Female Figure (1875); Punishment
of Adultery in Middle Ages (1876);
Stranded Goods, The Favourite (1877); Liberator
of the Territory (1878); Village Festival,
Temptation (1879); Rabelais, the Parson
of Meudon (1880); Distribution of
Standards, July 14, 1880 (1881); Reveil
(1882); Truth (1883); Jolly Drinkers (after
Rabelais's Gargantua, 1884).—Müller, 193;
Meyer, Conv. Lex., xviii. 381.
GAROFALO, IL, born in Ferrara in 1481,
died there, Sept. 6, 1559. Lombard-Ferrarese
school. Real name Benvenuto di
Piero Tisi, but called Garofalo (Gilliflower)
from his use of that flower as a device.
Pupil of Domenico Panetti, of Niccolò Soriani,
and of Boccacini, from whose studio he
ran away to Rome (1499) and studied about
a year under Giovanni Barrini. In 1502 he
was in Mantua, where he must have remained
four years if, as Vasari says, he studied with
Lorenzo Costa, who entered the service of
the Gonzagas in 1506. In 1508 he went
again to Rome and became intimate with
Raphael. Later he worked at Ferrara for
Duke Alfonso, in whose palace (Scrofa Calcagnini)
he decorated a hall with mythological
subjects. Other pictures in Ferrara:
Old and New Testament, Adoration of the Magi (1537), Christ in the Garden, Massacre of the Innocents, Madonna del Pilastro, Ma-*
