spent most of his life at the papal court, where he acquired
an intimate knowledge of its affairs. Clement VII made
him bishop of Nocera (1528); he withdrew from Rome in
1549, having failed to become a cardinal under Paul III,
and ended his life on a visit to Florence. His major work,
Historiae sui temporis (1550–52), covers the years
1494–1547. In Italian he wrote a commentary on Turkish
affairs (1531) and a work on heraldic IMPRESE(1541). His
Latin biographies of Leo X, the military leader Ferdinando
d’Avalos, and others were soon translated into Italian and
he encouraged VASARIto write his lives of artists. The
posthumously published collection of lives of scholars, El-
ogia doctorum virorum (Antwerp, 1557), contained por-
traits of the subjects and poems by Ioannes Latomus
Bergamus and others.
Further reading: T. C. Price Zimmermann, Paolo
Giovio: The Historian and the Crisis of Sixteenth-Century
Italy (Princeton, N.J.: Princeton University Press, 1995).
Giraldi Cinthio, Giambattista See CINTHIO
Giuliano da Maiano (1432–1490) Italian architect
A member of a leading artistic family of Florence in the
15th century, Giuliano trained with his brother, the sculp-
tor BENEDETTO DA MAIANO, as a stone-carver and later col-
laborated with him on a number of projects, including the
shrine of San Savino (1472; Faenza cathedral) and a
chapel for Sta. Fina in the Collegiata at San Gimignano
(1468). Following in the artistic footsteps of BRUNEL-
LESCHIand MICHELOZZO, Giuliano worked on the Palazzo
Pazzi in Florence (c. 1460–72) and designed Faenza
cathedral (1474–86), the vaulting of the nave in the cathe-
dral of Loreto (post-1481), and a royal villa in Naples, the
Poggio Reale (1484–90), now destroyed. He also executed
several notable carvings in wood.
Giulio Romano (Giulio Pippi) (c. 1492–1546) Italian
painter and architect
Born in Rome, Giulio worked in RAPHAEL’s workshop as a
child and by the time of the painter’s death (1520) had be-
come the chief assistant there, engaged on frescoes in the
Stanza dell’Incendio in the Vatican (completed in 1517)
and in the Loggie (completed in 1519). After Raphael’s
death, Giulio completed several other works, including
the Sala di Constantino frescoes at the Vatican (1524) and
the Transfiguration (1517–22), as well as original paint-
ings of his own, such as the altarpiece for Sta. Maria del-
l’Anima in Rome (c. 1523) and the Stoning of St. Stephen
(1523) for San Stefano in Genoa.
After further work at the Villa Madama and the Villa
FARNESINAwith GIOVANNI DA UDINE, he moved to Mantua,
where he was obliged to remain after a scandal erupted
over his implication in some obscene engravings. There he
dominated artistic affairs and, at the invitation of Federico
II Gonzaga, embarked upon his masterpiece, the Palazzo
del TÈ (c. 1525). Constructed and decorated under
Giulio’s direction, the palace is a monument to the man-
nerist style that he helped to create (see MANNERISM). He
also worked in the Reggia dei Gonzaga in Mantua, in a
style anticipating the Baroque, built a mannerist-style
house for himself and his family (1544–46), and in 1545
began the rebuilding of Mantua cathedral after his own
plans. He enjoyed considerable fame even beyond the bor-
ders of Italy; Shakespeare, for instance, refers to him as
“that rare Italian master” (Winter’s Tale V ii).
Further reading: Manfredo Tafuri, Giulio Romano
(Cambridge, U.K.: Cambridge University Press, 1998).Giunti press (Junta press) A printing house first estab-
lished by Luca-Antonio Giunti (1457–1538) in Venice in
the 1480s, specializing in liturgical works. The more im-
portant branch of the firm was at Florence, where Filippo
Giunti (1450–1517) printed from 1497 until his death.
The business was carried on by his descendants until the
early 17th century. The Venetian branch of the family
lasted until 1642, and there was a third branch printing at
Lyons from 1520 to 1592. Filippo Giunti printed the first
Greek edition of PLUTARCH’s Lives (1517), but the quality
of scholarship in Giunti editions was generally well below
that of works from the ALDINE PRESS.Glareanus, Henricus (Henry of Glarus, Heinrich
Loris) (1488–1563) Swiss musical theorist and humanist
As a child and young man Glareanus studied in Berne and
Rottweil with Michael Rubellus, and in 1506 he began his
studies of philosophy, theology, mathematics, and music
at Cologne university. He made a reputation for himself by
writing Latin poems and was awarded the poet’s laurel by
Emperor Maximilian in 1512. In 1514 he returned to
Basle, where he met ERASMUS, who became a great influ-
ence on his thinking. In 1529 Glareanus became professor
of poetry at the university of Fribourg, and later professor
of theology. He wrote a treatise on geography (1527) and
several musical treatises, the most important being his Do-
decachordon (1547), in which he propounds his theory of
12 church modes. This had considerable influence on late
Renaissance composers.
See also: MUSIC THEORYglass During the Renaissance the fine glass of Venice was
preeminent, widely exported into northern Europe and
coveted by the nobility. Venetian glass manufacture had
been moved to the island of Murano in 1292 as a precau-
tion against fire and by 1330 the famous Barovier family of
glass makers was already active there. In the mid-15th
century an influx of expert Islamic glass-workers into Mu-
rano stimulated the already established industry. Strictly
enforced guild rules of secrecy protected the Venetian
product from effective competition.ggllaassss 2 21155