patrons of the arts and scholarship. Luigi was the first
Gonzaga to become captain-general of Mantua (1328).
His great-grandson Francesco I (1388–1407) was not only
a noted military leader, who successfully withstood the
expansionism of the VISCONTI FAMILY—Mantua’s Castello
San Giorgio dates from his time—but also a keen
bibliophile whose collection contained numerous French
manuscripts. Gianfrancesco (I), a brave soldier and a
patron of the arts and humanist scholarship, was made
marquess by Emperor Sigismund (1433). Gianfrancesco II
GONZAGAand his wife, Isabella d’ESTE, made the Mantuan
court a glittering center for the arts and scholarship. The
first Gonzaga duke of Mantua was their son Federico II
GONZAGA, who also acquired Montferrat (Monferrato) by
his marriage (1531) to Montferrat’s heiress, Maria
Palaeologo. St. Aloysius Gonzaga (1568–91), who died
shortly before his ordination, is the patron of Catholic
youth. The direct male line ended in 1627, and after a war
of succession Mantua passed to a French branch, the
Gonzaga-Nevers.
See also: GONZAGA, LUDOVICO III; VITTORINO DA FEL-
TRE
Further reading: Kate Simon, A Renaissance Tapestry:
The Gonzaga of Mantua (London: Harrap, 1988).
Gossaert, Jan (Mabuse) (c. 1478–1533/36) Flemish
painter
Gossaert derived his assumed name of Mabuse from his
family home in Maubeuge in Hainaut (now in Belgium).
He was the first artist to introduce the style of the Italian
Renaissance into the Low Countries. First documented as
belonging to the Antwerp painters’ guild in 1503, Gossaert
began by producing works full of richly ornate detail and
flamboyance. The influence of Hugo van der GOES, Gerard
DAVID, Albrecht DÜRER, and Jan van EYCKis also evident in
such early paintings as the Adoration of the Magi (c. 1512;
London), the Malvagna triptych (c. 1511; Palermo), and
the Agony in the Garden (Berlin).
In 1508 Gossaert visited Italy in the service of Philip
of Burgundy, bastard son of Philip the Good, and was ex-
posed for the first time to the art of the Italian Renais-
sance. Although he failed to understand the essence of the
movement, he employed many features of the Italian style
in his work on his return and continued to study it
through the engravings of Marcantonio RAIMONDIand Ja-
copo de’ BARBARI. Neptune and Amphitrite (1516; Berlin),
his first dated work, differs greatly from earlier efforts,
with its Dürer-type figures placed incongruously in a
Doric temple and its much more simple and direct execu-
tion. Later paintings, such as Venus and Cupid, Danäe (Mu-
nich), and Hercules and Deianira (1517; Birmingham)
often present nude figures in elaborate architectural set-
tings, painted with the acuteness of observation charac-
teristic of Flemish art. Gossaert also excelled as a portrait
painter and his patrons included the Danish royal family
and Cardinal Carondelet. After Philip of Burgundy’s death
(1524) Gossaert retired to Middelburg, where he died.Goudimel, Claude (c. 1516–1572) French composer
Goudimel studied at Paris university and then worked
with the publisher Nicolas du Chemin as proofreader and
later partner. From 1557 he lived at Metz, where he com-
posed his first complete Psalter (1564). He was killed in
Lyons in the MASSACRE OF ST. BARTHOLOMEW. Although
Goudimel wrote Masses, motets, and chansons, it is for his
psalm settings that he is noted. These all treat French
translations of the texts and range in style from motet-like
works to simple harmonizations.Goujon, Jean (c. 1510–c. 1568) French sculptor
The early years of Goujon’s life are obscure but he was
probably born near Rouen, where he executed his first
documented work, the fine Corinthian columns support-
ing the organ loft in the church of St. Maclou (1540). The
tomb of Louis de Brézé (husband of DIANE DE POITIERS) in
Rouen has also been ascribed to him and shares the same
classical influence evident in subsequent works. His ma-
ture style first showed itself in a notable rood screen for St.
Germain-l’Auxerrois in Paris (c. 1544; Louvre, Paris),
upon which he collaborated with the architect Pierre LE-
SCOT. Goujon also collaborated with Lescot upon his
finest work, the Fontaine des Innocents (1547–49; Lou-
vre), which is clearly influenced by the style of Benvenuto
CELLINI.
Later works, similarly distinguished by strong classi-
cal elements, include decorations for the interior and ex-
terior of the LOUVRE, notably the caryatids of the Salle des
Caryatides (extensively restored in the 19th century),
and—again with Lescot—work at the Hôtel Carnavalet.
No works after 1562 are known and Goujon eventually
died in Bologna, an exile from religious persecution. He
also contributed comments on sculptural ornamentation
in an appendix to the first French edition (1547) of the De
architectura of VITRUVIUS, as well as a number of woodcut
illustrations for the book.Gournay, Marie de (1565–1645) French writer
Marie de Gourney was born in Paris but spent her early
years at the family estate in Picardy. In 1588 she met MON-
TAIGNEin Paris and after his death (1592) she became the
editor of what has been accepted as the definitive text of
his Essais, incorporating Montaigne’s own annotations on
his copy of the 1588 and writing the preface to the 1595
edition. As well as writing poems, autobiographical
works, translations from the Aeneid, and a novel, de Gour-
nay was an early advocate of equality for women in edu-
cation. To this end she wrote a number of protofeminist
tracts, including Egalité des hommes et des femmes (1622)
and Grief des dames (1626).GGoouurrnnaayy,, MMaarriiee ddee 2 21199