gravings, executed in the manner and with the spirit of the Italian Renaissance (a facsimile will be found in Sir W. Stirling-Maxwell's ‘Engraved Portraiture of the Sixteenth Century’). On the other hand the anatomical plates, though mere copies of the Basle woodcuts, show the hand of an engraver trained in Italy. It has been suggested that the frontispiece is by a different hand, and of the school of Fontainebleau (Fisher, Catalogue of a Collection of Engravings, &c., p. 309); it bears, however, a distinct statement that it was engraved by Gemini, and the portrait, inserted in 1559, is obviously the work of the same engraver. If Gemini designed the frontispiece himself, he was an artist of some merit. There does not seem any ground for supposing that he was a surgeon. Vesalius's book was so famous that the piracy of the text and plates was an easy and profitable undertaking.
[Ames and Herbert's Typographical Antiquities, ii. 872; Walpole's Anecdotes of Painters, ed. Dallaway and Wornum; Brit. Mus. Harl. MS. 5910 (Bagford), pt. iv. p. 165; Arber's Transcript of the Registers of the Stationers' Company; Brunet's Manuel du Libraire (sub voce ‘Vesalius’); Gemini's own works and others referred to in the text.]
GENDALL, JOHN (1790–1865), painter, a native of Devonshire, showed an early taste for drawing, and was sent to London with an introduction to Sir John Soane [q. v.] Soane gave him his first commission, a drawing of one of the windows in Westminster, and introduced him to Rudolph Ackermann [q. v.], the print-seller and publisher in the Strand. Gendall was employed by Ackermann for some years in managing the business, in developing the new art of lithography, and in illustrating publications. He was sent by the firm on a sketching tour through Normandy; Gendall's sketches, with some by Augustus Pugin, were published in 1821 under the title of ‘Picturesque Tour of the Seine from Paris to the Sea,’ the text being by M. Sauvan. On 6 Nov. 1862 Gendall gave an illustrated description of this tour, with the sketches, at Exeter. He drew many views for Ackermann's topographical publications, such as ‘Views of Country Seats;’ and some of his views were engraved in aquatint by T. Sutherland, including three of Edinburgh, some of Richmond, Kew, and other places. On quitting Ackermann's house Gendall settled in the Cathedral Yard at Exeter, where he resided till his death. He now painted for his own recreation and profit, chiefly in oil, and his favourite subjects were the glens and rocky dells of his native county, or the scenery of the Teign, the Avon, and other Devonshire rivers. His paintings were highly appreciated. A friend once passed one off to some connoisseurs as a work of Turner. Turner himself thought highly of Gendall's work. Gendall never aimed at strength in colour, but rather sought to depict the calm repose of nature. He first exhibited at the Royal Academy in 1846, sending two scenes on the Avon. He continued to exhibit up to 1863, confining himself to views of Devonshire scenery. He was considered a very good judge of art; his advice was often sought and always readily given. Though afflicted with a long illness, he worked up to the close of his life. He died at Exeter, 1 March 1865, aged 75. A large collection of his paintings was sold by his executors soon after his death.
[Pycroft's Art in Devonshire (Devonshire Association, xiii. 233); Redgrave's Dict. of Artists; Graves's Dict. of Artists, 1760–1880; Royal Academy Catalogues (Anderdon's illustrated copy in print room, Brit. Mus.).]
GENEST, JOHN (1764–1839), writer, was the son of John Genest of Dunker's Hill, Devonshire. He was educated at Westminster School, entered 9 May 1780 a pensioner at Trinity College, Cambridge, and graduated B.A. 1784 and M.A. 1787. He took holy orders, and was for many years curate of a retired Lincolnshire village. Subsequently he became private chaplain to the Duke of Ancaster. Compelled by ill-health to retire, he went to Bath for the benefit of the waters. Here he appears to have remained until his death, which took place, after nine years of great suffering, at his residence in Henry Street, 15 Dec. 1839. His body is buried in St. James's Church. During his stay in Bath he wrote ‘Some Account of the English Stage from the Restoration in 1660 to 1830,’ Bath, 10 vols. 1832, 8vo, a work of great labour and research, which forms the basis of most exact knowledge concerning the stage. Few books of reference are equally trustworthy, the constant investigation to which it has been subjected having brought to light few errors and none of grave importance. Genest is not undeservedly hard on his predecessors who followed one another in error. The index to the book is ample, but its arrangement does not greatly facilitate research.
[Notes and Queries, 2nd ser. ix. 109, 231.]
GENINGES, EDMUND (1567–1591), catholic divine, was born in 1567 at Lichfield and brought up in the protestant religion. He became a page in the service of Richard Sherwood, a catholic gentleman, who afterwards went to Rheims and took holy orders. Geninges, at his own request, was also admitted into the college at Rheims, and after