GIUSTO DA GUANTO [JoDOCUS, or JUSTUS, of See also:

• GHENT (Flem. Gent, Fr. Gand)

GHENT] (fl. 1465–1475)  , Flemish painter . The public records of the See also:

• CITY (through Fr. cite, from Lat. civitas)

city of See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent have been diligently searched, but in vain, for a See also:

• CLUE

clue to the See also:

• HISTORY

history of Justus or Jodocus, whom See also:

• VASARI, GIORGIO (1511-1571)

Vasari and See also:

• GUICCIARDINI, FRANCESCO (1483-1540)

Guicciardini called Giusto da Guanto . Flemish See also:

• ANNALISTS (from Lat. annas, year; hence annales, sc. libri, annual records)

annalists of the 16th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century have enlarged upon the scanty statements of Vasari, and described Jodocus as a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert See also:

• VAN

Van See also:

• EYCK, VAN

Eyck . But there is no source to which this See also:

• FABLE (Fr. fable, Lat. fabula)

fable can be traced . The registers of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke's gild at Ghent comprise six masters of the name of Joos or Jodocus who practised at Ghent in the 15th century . But none of the See also:

• WORKS

works of these masters has been preserved, and it is impossible to compare their See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style with that of Giusto . It was between 1465 and 1474 that this artist executed the " Communion of the Apostles " which Vasari has described, and See also:

• MODERN

modern critics now see to the best See also:

• ADVANTAGE

advantage in the museum of See also:

• URBINO (anc. Urvinum Mataurense)

Urbino . It was painted for the brotherhood of Corpus Christi at the bidding of See also:

• FREDERICK
• FREDERICK (Mod. Ger. Friedrich; Ital. Federigo; Fr. Frederic and Federic; M.H.G. Friderich; O.H.G. Fridurih, " king or lord of peace," from O.H.G. fridu, A.S. frith, " peace," and rfh " rich," " a ruler," for derivation of which see HENRY)

Frederick of Montefeltro, who was introduced into the picture as the See also:

• COMPANION (through the O. Fr. compaignon or compagnon, from the Late Lat. companio,—cum, with, and panis, bread,—one who shares meals with another; the word has been wrongly derived from the Late Lat. compagnus, one of the same pages or district)

companion of Caterino See also:

• ZENO

Zeno, a See also:

• PERSIAN
• PERSIAN, SYRIAN, EGYPTIAN AND TURKISH

Persian See also:

• ENVOY (Fr. envoye, " sent ")

envoy at that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time on a See also:

• MISSION

mission to the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of Urbino . From this curious See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production it may be seen that Giusto, far from being a pupil of Hubert Van Eyck, was merely a See also:

• DISCIPLE

disciple of a later and less gifted See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, who took to See also:

• ITALY
• ITALY (Italia)

Italy some of the peculiarities of his native See also:

• SCHOOLS

schools, and forthwith commingled them with those of his adopted See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . As a composer and draughtsman Giusto compares unfavourably with the better-known painters of See also:

• FLANDERS (Flem. Vlaanderen)

Flanders; though his portraits are See also:

• GOOD, JOHN MASON (1764-1827)

good, his ideal figures are not remarkable for See also:

• ELEVATION

elevation of type or for subtlety of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and expression . His See also:

• WORK

work is technically on a level with that of See also:

• GERARD (c. 1040-1120)
• GERARD (d. I1o8)
• GERARD, ETIENNE MAURICE, COUNT (1773–1852)
• GERARD, FRANCOIS, BARON (1770-1837)
• GERARD, JEAN IGNACE ISIDORE (1803-1847)
• GERARD, JOHN (1545-1612)
• GERARD, or GIRARD, AUDRAN

Gerard of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John, whose pictures are preserved in the See also:

• BELVEDERE, or BELVIDERE (Ital. for " fair-view ")

Belvedere at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna . See also:

• VESPASIAN

Vespasian, a Florentine bookseller who contributed much to See also:

• FORM (Lat. forma)

form the antiquarian See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of Frederick of Montefeltro, states that this See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke sent to the See also:

• NETHERLANDS

Netherlands for a capable artist to paint a See also:

• SERIES (a Latin word from serere, to join)

series of " See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient worthies " for a library recently erected in the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace of Urbino .

It has been conjectured that the author of these " worthies," which are still in existence at the Louvre and in the See also:

• BARBERINI

Barberini palace at See also:

• ROME
• ROME (Roma)

Rome, was Giusto . Yet there are notable divergences betweeen these pictures and the " Communion of the Apostles." Still, it is not beyond the range of See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability that Giusto should have been able, after a certain time, to See also:

• TEMPER (from Lat. temperare, to mingle or compound in due proportion, to qualify, rule, regulate, to be moderate, formed from tempos, time, fit or due season)

temper his Flemish style by studying the masterpieces of Santi and Melozzo, and so to acquire the mixed manner of the Flemings and Italians which these portraits of worthies display . Such an assimilation, if it really took See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place, might justify the Flemings in the See also:

• INDULGENCE (Lat. indulgentia, indulgere, to grant, concede)

indulgence of a certain See also:

• PRIDE, THOMAS (d. 1658)

pride, considering that See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael not only admired these worthies, but copied them in the See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

sketch-See also:

• BOOK

book which is now the See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament of the Venetian See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . There is no ground for presuming that Giusto ad Guanto is identical with Justus d'Allamagna who painted the " See also:

• ANNUNCIATION

Annunciation " (1451) in the cloisters of See also:

• SANTA

Santa Maria di See also:

• CASTELLO, BERNARDO (1557—1629)
• CASTELLO, GIOVANNI BATTISTA (1500 ?–1569 ?)
• CASTELLO, VALERIO (1625-1659)

Castello at See also:

• GENOA (anc. Genua, Ital. Genova, Fr. GPnes)

Genoa . The See also:

• DRAWING

drawing and colouring of this See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall See also:

• PAINTING

painting shows that Justus d'Allamagna was as surely a native of See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

south See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany as his See also:

• HOMONYM (Gr. oµwvolaos, having the same name, from densely populated plain running north and south from the oµos, same, alike, and 6voµa, name)

homonym at Urbino was a See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born Netherlander .