surface and is encyclopedic in scope. It refl ects the dual
nature of the building as baptistery and mausoleum—
functions that were closely linked since early times. In
the principal dome is a representation of Paradise; the
Pantocrator and Virgin Orante are Byzantine elements
explicable by the proximity of Venice. On the drum is an
extensive series from Genesis; and stories of the Virgin,
Christ, and John the Baptist cover the walls. The exhaus-
tive Apocalypse cycle in the apse seems to depend, either
directly or indirectly, on an illuminated manuscript of
the twelfth or thirteenth century. The polyptych is also
richly embellished with narrative scenes from the legend
of John the Baptist.
The identity of Giusto’s master is a subject of debate.
Giusto’s early works suggest that he was trained in
Florence in the work shop of Bernardo Daddi. Giusto
turned to Daddi’s master, Giotto, for the fundamentals
of his style. Direct borrowings from Giotto’s work in
the Arena Chapel may be seen as early as Giusto’s
Viboldone Last Judgment and in the London taber-
nacle. Giusto’s Lombard work also refl ects Giovanni
da Milano; and throughout his career Giusto utilized
recent Florentine sources. Giusto infl uenced Lombard
fresco painting in its most advanced Tuscan phase of
the 1360s and slightly later manuscript illumination in
the region, although Giovanni da Milano, a native, had
a more profound impact. Similarly, Giusto’s presence
helped invigorate Paduan painting at a time when art
in Florence had stagnated through a relaxation of Giot-
tesque principles. Again, although Giusto infl uenced
monumental painting and manuscript illumination in
Padua until about the turn of the century, the style of
a local artist, Altichiero, was dominant. Despite some
concessions to indigenous naturalism, particularly an
expansion of the number of fi gures and their spatial
setting, Giusto’s art was fundamentally Florentine and
hence less accessible to local taste.
See also Daddi, Bernardo; Giotto di Bondone
Further Reading
Bettini, Sergio. Giusto de’ Menabuoi e l’arte del Trecento. Padua:
Le Tre Venezie, 1944.
——. Le pitture di Giusto de’ Menabuoi nel Battistero del Duomo
di Padova. Venice: Neri Pozza, 1960.
Delaney, Bradley Joseph. Giusto de’ Menabuoi: Iconography and
Style. Ann Arbor, Mich.: University Microfi lms, 1972.
——. “Giusto de’ Menabuoi in Lombardy.” Art Bulletin, 58,
1976, pp. 19–35.
Bradley J. Delaney
GODEFROI DE BOUILLON
(ca. 1061–1100)
Duke of Lower Lorraine, leader of the First Crusade,
and fi rst Latin ruler of Jerusalem, Godefroi was the
second son of Count Eustache II of Boulogne and of
Ide, daughter of Duke Godefroi II of Lower Lorraine.
In 1076, the emperor Henry IV refused him the suc-
cession to his grandfather’s duchy, but Godefroi fi nally
acceded in 1089.
He participated in the First Crusade in 1096 along
with his brothers Eustache III of Boulogne and Baud-
ouin, choosing the land route via Hungary. On arriving
at Constantinople, he at fi rst refused the requested oath
to the emperor Alexios I Comnenos but consented fi -
nally after an attack on the suburbs of the city when the
emperor cut off provisions for his forces. Though he did
not fi gure as prominently as the other crusading leaders
prior to their arrival at Jerusalem, his forces were the fi rst
to break in, and he became the compromise candidate
for ruler of the Holy City. Refusing the title king, he
became the Advocate of the Holy Sepulcher and secured
the Latin position in Palestine by defeating an invading
relief army from Fatimid Egypt at Ascalon.
Godefroi’s rule was brief and made diffi cult by the
ambitions of the other crusading leaders, He also had to
deal with the pretensions to rule of Daimbert of Pisa, the
fi rst Latin patriarch of Jerusalem. On his death (July 18,
1100), he was succeeded by his younger brother, Baud-
ouin, who had founded the fi rst of the Crusading States
at Edessa and who took the title king of Jerusalem.
Godefroi’s life almost immediately became the stuff
of legends. He was one of the three medieval members,
with Charlemagne and Arthur, of the Nine Worthies and
is the principal hero of the Crusade epics, including the
35,000-line Chevalier au cygne et Godefroid de Bouillon
(1356), the fi nal reworking of the cycle.
See also Henry IV, EmperorFurther Reading
Andressohn, John Carl. The Ancestry and Life of Godfrey of
Bouillon. Bloomington: Indiana University Press, 1947.
R. Thomas McDonaldGODFREY OF VITERBO
(c. 1125–after 1202)
The poet-historian Godfrey of Viterbo was Italian by
birth but of recent German ancestry. He was taken to
Germany at an early age and was educated in the ca-
thedral school of Bamberg. Returning to Italy, probably
shortly after 1140, he entered the papal chancery; but
within a decade he was back in Germany as a member
of the royal chapel under Conrad III (d. 1151). Godfrey
served the emperors Frederick I Barbarossa and Henry
VI as court chaplain and notary, taking part in their Ital-
ian expeditions until at least 1186, when he witnessed
a document for Henry during the siege of Orvieto. His
offi cial travels also took him to France many times andGIUSTO DE’ MENABUOI