between two Ages, and his Two Mistresses, The Foolish Virgins (1873); Landscape in Tuscany, Sacrifice to Æsculapius (1875); Tribute of Athens to Minotaur (1876); M. Purgon arrive mal-à-propos (1877).—Larousse, viii. 1130; Meyer, Gesch., 605; Müller, 199; Revue des B. Arts (1859), ii.
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GENELLI, BONAVENTURA, born in
Berlin, Sept. 28,
1798, died in Weimar,
Nov. 13, 1868.
History painter,
pupil of Berlin
Academy under the
influence of his
uncle, the architect
Hans Christian Genelli.
Lived from
1822 to 1832 in
Rome, and was much influenced by Carstens,
Koch, and Thorwaldsen. In 1836 he
removed from Leipsic to Munich, and in
1859 to Weimar by invitation of the Grand
Duke. One of the most ingenious designers
of modern times. Weimar Order of Falcon,
1862. Member of Vienna Academy, 1868.
Works: Triumph of Bacchus and Ariadne
(water-colour), Leipsic Museum; Hercules
playing the Lyre; Eliezar and Rebekah;
Jason and Medea robbing the Golden Fleece;
Life of a Libertine (18); Illustrations to Homer
(49); Life of a Witch (10); Illustrations to
Dante (36); Life of an Artist; Æsop telling
his Fables (water-colour), Leipsic Museum;
do., and Homer reciting his Songs, Sappho
reciting her Poems, Apollo among the Shepherds,
Baron Sina, Vienna; Sisyphus led
away by the Youth with the Torch, Academy,
ib.; Colossal Head of Don Quixote;
Lot in Zoar; Samson and Delilah; Rebekah
at the Well; Joseph and Potiphar's Wife;
Vision of Ezekiel (1859), Rape of Europa
(1860, cartoon to it (1857) in National Gallery,
Berlin). Hercules and Omphale, Triumph
of Bacchus and Ariadne, Abraham and
the Angels (1862), Battle of Lycurgus (1863,
cartoons to last two in Leipsic Museum),
Drop Curtain with Allegories, Bacchus
among the Muses (1868), Schack Gallery,
Munich; Abraham and the Angels (water-colour),
Leipsic Museum; Centaur Family
(1862); Jupiter and Eros on the Wings of
Night (1864), Bacchus among the Pirates
(1868, cartoon, last work), Weimar Museum.
His son, Camillo (1840-67), was a designer
and painter of great promise.—Allgem. d.
Biogr., viii. 562; Brockhaus, vii. 750; Förster,
Denkmale, XII. iii. 29; Graph. K., iv. 1;
Illustr. Zeitg. (1868), 415; Kunst-Chronik,
iii. 141; iv. 17; Pecht, ii. 271; Regnet, i.
159; Riegel, Kunststudien, 291; Schack,
Meine Gemäldegallerie (1884), 1; Land und
Meer (1869), i. 351; Zeitschr. f. b. K., v. 1;
xi. 11; xii. 25, 90, 122, 217; xiii. 115, 184,
221, 250, 316, 355; xviii. 257.
GENEVIÈVE, SAINT, Puvis de Chavannes,
Church of St. Geneviève (Pantheon),
Paris. St. Geneviève of Paris, who in childhood
tended sheep, went with others to
meet St. Germain when he came to spend a
night at Nanterre. When the bishop saw
her he was made aware by inspiration of the
sanctity of her character, and hanging round
her neck a medal marked with the cross, he
blessed her as one consecrated to God's
service.
GENGA, GIROLAMO, born at Urbino in
1476, died there, July 11, 1551. Umbrian
school; pupil of Luca Signorelli, whom he
aided in his frescos in the Duomo of Orvieto.
Genga afterwards was Perugino's
assistant for three years, and in his school
became acquainted with Raphael. Painted,
in the Palazzo Petrucci, Siena, and then
with Timoteo Vite at Urbino. Afterwards
worked in Rome, Pesaro, and Florence,
both as painter and architect. Works: Resurrection
(1510), Siena Duomo; Madonna,
Brera; Resurrection, S. Caterina da Siena,
Rome; Holy Family, Palazzo Pitti, Florence.
His son, Bartolommeo Genga (born 1518,
died 1558), was better known as an architect
than as a painter.—Ch. Blanc, École
ombrienne; Vasari, ed. Le Mon., xi. 86;
ed. Mil., vi. 315; Siret, 356; Baldinucci,
ii. 93.
