G I O 



At plates 4S and 49 the anfvvprs to (liort examples of 

 rujTiie and imitation are clear and ingenious ; but no in- 

 flruftionsar," given for melody throughout the work. And 

 vhufical compofition confilling of the union of melody and 

 liannony, it fecms, at kail, to have merited a deiinition. 

 He might have told the ftudent that it confifts of a plealin^f 

 feries of fingle notes of various lengths, arranged with 

 grace, di\'ided into equal meafure by bars, phrafed and go- 

 verned by rhythm. 



At pi. 49, ex. vii. there arc fufpkions oi fifths in abun- 

 dance between the fecond and third lines, unnoticed by the 

 aathor. 



Page 106, vol. i. the author very juftly cenfures vocal 

 fugues and canons, in which the feveral voices are finging 

 different words and fyllables at the iame time ; but RouU'eau 

 had done this before, in his " Lettre fur la Mufique Fran- 

 coife," 1 75 1. His examples of fugue and canon, which 

 he allows to have an admirable effett in inllrum^ntal mulic, 

 are few and artlefs. No other examples are given of rne- 

 lodv than chords broken into very common palfagcs as va- 

 riations. Nor of harmony or melody do we llnd more than 

 two or three examples in triple time, and thofe of a very 

 common and unmeaning fort. 



We remember that the public was much difappointed by 

 this work, which was filently put on the fhelf, and has 

 fcarcely ever been mentioned fince its publication. 



GiOUGlo Gaxdixi, a painter, furnamed del Grano. 

 He was of Parma, and, if wo believe Orlandi, not merelv 

 one of Correggio's fchool, but a pupil, whofe works the 

 mailer himfelf retouched. The principal piciure in St. Mi- 

 chele, erroneoufly afcribed to Lelio Orfi, is claimed for 

 him by P.- Zapata ; a perfonnance, though in parts capri- 

 cioufly conceived, of an impafto, a relief, a fweetnefs of 

 colour and pencil, to confer honour on the beil of that 

 fchool. The eileem in which he was held by his fellovv- 

 citizens maybe conceived, from the commiflion which they 

 unanimoufiy conferred on liim after the deceafe of Correggio ; 

 viz.. to paint the Tribune of the Duomo. Death prevented 

 him from tlie execution of it, and the commiffion fell to a 

 third, to Giralomo Mazzuolo, though not yet ripe for an 

 enterprlze of fuch magnitude. Fuieli'sPilkington. 



GioiiGio, i'/ , in Geography, a town of Naples, in Cala- 

 bria Ultra ; 17 miles S.E. of Nicotera. — Alfo, a town of 

 the iiland of Lefma ; 44 miles E. of Lciina. — Alfo, a town 

 of France, in the department of the Po ; lix miles N.W. 

 of Cliivaffo. — Alfo, a town of Naples, in the province of 

 Otranto j four miles E. of Tarento. — Alfo, a town of 

 Naples, in the fr.me province ; three miles N.N.'vV. of 

 Nardo. — Alfo, a town of Napl;-s, in the province of Prin- 

 cipato Ultra ; three miles S E. of Benevento — Alfo, a town 

 of Italy ; 10 miles N.W. of Verona. — Alfo, a tov.-n of 

 Italy, in the department of the Reno ; 1 1 miles N. of Be- 

 logna. 



GIORGIONE D-V C.-isTEL Fu.^nckaco, or Giougio 

 B.vr.r.AC.DLi.i, ia Biography, was a painter of moil uncom- 

 mon talents, who dilputes the rank of head of the Venetian 

 fchool withTitian. He was born at Callel-Franco in 1477, 

 and acquired the name of Giorgione as well irom his iiiperior 

 mode of feeling in art, as from tlie beauty and elegance of 

 his pcrfon and manner. He at firil became a Icliolar of Gio- 

 vanni Bellini, but foon (hook off the minutenefs and trifiing 

 labour of that fchool, and fubilituted breadth and fulnels 

 of handling and cffciS. Vafari obferves, th.it Giorgione, 

 having feen forne works of Lionardo da Vinci, wherein the 

 grand llyle of chiarofcuro was efTecled, was ilruck by them, 

 and endeavoured in future to imitate lirat characl'-'r in his 

 ow.i piftures. If this be true, which is doubted by feme, 



G I O 



he, in adopting that flylc, did not fcruplc to vf.,y n, to 

 fuit his own more pica/ing tafle ; and ctrti.::.iy diSers ex- 

 ceedingly from it in line, as much at in c ' effect. 



The former confines the eye almoft to a it, H-jc 



latter diffnfes the lights and fiiade? ; and ti:f.i-,i ari be ap- 

 parent, ftill nature more truly predominates. 



He painted in frefco v.ith great vigour and beauty, 

 but little of his labour in that way now remains. He 

 was engaged to paint the bridge of the RialtO 

 in Venice, where he almoil altogether re.'.dcd : Vafari, while 

 lie praifcs the beauty of the colours and execution, con- 

 demns the work, as wanting fubjedf. Many of his oil pic- 

 tures are in this cour.try, and they cannot be too much ex- 

 tolled for their excellence in character of colour, or fulnefs 

 and freedom of handling : wiui a ricli impafto, anda foftr.els 

 in the rounding;, that render them deliglitfully plenfing to 

 contemplate. One large picture of a Holy Family is in 

 pofTeflion of the marquis of Stafford, wliic'h is highly la- 

 lioured as to effect. But, perhaps the moll r.rfect work of 

 his in this country, is a fmall picture in the collection of the 

 earl of Cariifle, a portrait of Gallon de Foix, with a fcrvant 

 putting on his armour. We are not acqr.ainted with anv 

 piciture that has more truth or beauty of colour, and (lyle of 

 charafter to recon-.meiid it. His portraits, in general^ have 

 every excellence required in t!;at interefting branch of the 

 art, and he may be jullly ilylcd the father oi portrait paint- 

 ing, as fince handed down to us by Titian, Vandyke, and fir 

 .h>!liua Reynolds ; the three great luminaries that have at 

 different periods fucceeded him. It is told of i.im, that hav- 

 ing a difpute concerning the fupericrity of fculpture or paint- 

 ing ; and it being argued, tliat fculptiiro had the advantage, 

 becaufe the figures it prodnees may be fecn all an)un(l ; he 

 took the adverfe fide, maintaining, that the neceluty of mov- 

 ing, in order to fee the different fides, depri.ed it of its fu- 

 periority ; whereas the whole figure might be viewed at one 

 glance, in a minute. To prove his pofition, he painted a 

 ligure, and furrounded it witli mirrors, in which all the va- 

 rious parts were exhibited, and obtained great ai)plaufe for 

 his ingenuity. He died of tlie plague, at the early age of 

 34, in the year 151 1. 



GIORGY, S r. in Geo^aphy, a town of Sclavonia ; 16 

 miles N.N.Vv . of Verovitza. 



GIORNICO, called by the Germans Irn'ts, a town of 

 Switzerland, in the Levantine valley, famous for tlie victory 

 V, hlch 600 Swif; gained, in 14-8, over the troops of the duke 

 ot Milan, amounting to ij.cco men ; a victory wliich in- 

 fured to the Swifs an honourable and advantageous peace. 

 In the vicinity of this town, tlicre are many vineyards, and 

 the walnut aud chefiuit trees arc of a very large lize, fome 

 of them being not lefs than 30 feet in girth ; 13 miles N. of 

 Bellinzona. 



GIOSTAH, a town of Africa, in the country of Mo- 

 fambique, at tlie bottom of a bay not far from Sofala. 



GI01 TO, in lilngrc'ihy, a painter, confpicuous among 

 thofe who revived the knowledge of the art in the I3lh cen- 

 tury. Ills fnlhcr was a labourer, who lived at Vefpii>nano, 

 near Florence, and whofe name was Bondoni ; but he gave 

 the name of Giotto to his fon, who was bom in 12"6, and 

 whom, at an early age, he placed with fome (hephcrdsto aflill 

 in tending their flocks. Wiillll engaged in tliis employment, 

 he «as found by Ciniabue drawing a fiieep in the fand with 

 fomuch ingenuity, that that painter was Induced to alk him 

 of his fatiier, that he might teach him the art of painting. 

 In a fhort time ho not only learned to imitate his mailer, but 

 alfo to paint from nature ; and, throwing off the dry Gothic 

 manner which reigned till then, endeavoured to give the 

 actual imitation of nature. He fcon becinie far fuperior to 



hit 



