A BIOGRAPHICAL DICTIONARY OF
The Dead Christ, with the Virgin, Magdalene, and St.
John; after J'an Ijyck.
The Descent of the Holy Ghost ; after the same.
Charity, mth three Children ; after the same.
Eoman Charity ; after Rubens.
St. Anne teaching the Virgin ; after the same.
The Martyrdom of St. Lievin ; after the same.
The best impressions are those before the name of De Hollander.
A 'Woman suckling an Infant ; after A. Diepenheeck.
Boors in a Tavern ; after J. ilolenaer,
CAIJLA, SlQiSMONDO, was born at Modena in 1637. He was the pupil of Jean Boulanger, but finished his studies at Venice, from the works of Titian and Tintoretto. Besides his altar-pieces, he painted cabinet pictures for private collections. His best production was his large picture of ' St. diaries Borronieo assisting the plague-stricken people of Modena,' which was painted, ii great vigour and expression, for the church of San Carlo. It is now in the Este Gallery at Modena, which also possesses a figure of ' St. Ambrose ' by him. In the latter portion of his life he became more languid in his colouring and execution. He painted as late as 1694.
CAULITZ, Peter, a painter of animals and landscapes, was born at Berlin about 1650, and studied art in Italy. The Berlin Museum has by him a well-painted scene representing a poultry- yard. Other examples may be seen at Potsdam and at Brunswick. He was Court-Painter when he died at Berhn in 1719.
CAUSE, Hendrik, was a Flemish engraver, who flourished about the year 1690. We have some portraits by him, among which is that of Cardinal Ferdinando d'Adda. He also engraved some plates of buildings, &c., which possess considerable merit.
CAUWER. See De Cauwer.
CAVAGNA, Fbancesco, called Cavagnuolo, was the sen of Giovanni Paolo Cavagna, and flourished about the year 1625. He painted his- tory in the style of his father, but never rose above mediocrity. His best work is in the cliurch of the Padri Zoccolanti del Romacolo, representing the Virgin and Infant Jesus in the clouds, with St. Louis, St. Clara, and St. Catharine. He died young tf the plague at Bergamo in 1630.
CAVAGNA, Giovanni Paolo, was bom at Borgo di San Leonardo, in the Bergamese, in 1556. His inclination for painting led him to Venice at the period when Titian was in the zenith of his fame, and, according to Tassi, he had the advan- tage of studying under that great artist. On his return to Bergamo he finished his studies under Giovanni Battista Moroni, and acquired from him an admirable impasto of colour, and a firm pencil. He appears to have adopted the style of Paolo Veronese, and his best works, both in oil and fresco, strongly resemble those of that painter. He particularly excelled in painting old men and children, as may be seen in his fresco of 'The Assumption of the Virgin,' with a glory of angels, and the apostles beneath, in the choir of the church of Santa Maria Maggiore, Venice. The same church possesses his oil paintings of 'The Nativity,' and of 'Queen Esther before Ahasuerus.' In the cliurch of Santa Lucia is his famed ' Cruci- fimon.' He died at Bergamo in 1627.
CAVAGNUOLO. See Cavagna, Francesco.
CAVALCABO. See Baroni Cavalcabo.
CAVALIERI. See Cavallebiis.
CAVALLERI, Ferdinando, who was a painter of history and portraits, was born at Turin in 1794, and studied art at Rome. His paintings are justly esteemed for their fidelitj- and truth. He was in later life a professor at the Academy of St. Luke. He died in 1867. His best works are:
Beatrice Cenci ascending the Scaffold. The Buruiug of Old St. Paul's. The Death of Leonardo da Tinci. Prince Eugene, after the Battle of Peterwardein. His own Portrait {in the Uffizi^ Florence).
CAVALLERIIS, Giovanni Battista de, (or Cavalier:,) an Italian engraver, was born at Lagherino in 1525, and died at Rome in 1597. His style of engraving resembles that of .ffineas Vico, although inferior to it. Many of his plates are copies after the great Italian masters ; they are etched, and finished with the graver. He was very laborious, and his plates number nearly 380. The following are those most worthy of notice, some of them being marked with the cipher Qj. The Frontispiece, and Heads of the Popes, for the Vite de* J'onttjici. Thirty-three plates of the Ruins of Rome ; after Doslio. 1579. A series of plates entitled £eati ApolUnaris Martyris primi Bavennatum episeopi Res gesta ; after N. Cir-ciqnani. 15S6. Ecclesise AnglicanjB Trophffi ; after the same, Christ among the Doctors; stijtposed to be from his own design. The Last Supper; the same. The Image of the Virgin of Loreto. 1566. The House of Loroto, and the Miracles wrought there. 1569. The Jubilee in 15S5, with a riew of the old Church of St. Peter's. A Sea-fight against the Turks; for Chacon's Historia zitriusrjue Belli Zt:>cici^ 1576. The Virgin, called ' Le Silence ' ; after Michelanaelo. The Dead Christ in the lap of the Virgin ; after the same. The Conversion of St. Paul ; after the same. The Martyrdom of St. Peter ; after the same. The Animals coming out of the Ark ; after Raphael. Moses showing the Tables of the Law ; after the same. The Miracle of the Loaves ; after the same. Christ appearing to St. Peter ; after the same. The Battle of Constantiue with Maxentius ; after the S1}HC. The Murder of the Innocents ; after the same. Susannah and the Elders ; after Titian. 15S6. St. John preaching in the 'Wilderness: after A. del Sarto. The Descent from the Cross ; after Daniele da Volterra. The Virgin and Infant in the Clouds; after Litio Ai/resti. The "Elevation of the Cross; after the same.
CAVALLI, ViTALE, called Vitale da Bologna and Vitale delle Madonne, was a painter of the 13th and 14th centuries, who was a pupil of Franco Bolognese. As one of his appellations denotes, he was especially noted for the painting of Madonnas, one of which (1320) is in the Pinacoteca of Bologna, another in San Giovanni in Monte of the same city, and a third (1345) in the Vatican; the last has been engraved by D'Agincourt. An 'Annunciation ' and ' The Manger ' are in Santa Apollonia at Mazzaratta.
CAVALLINI, PiETRO, was a painter of the 14th century, who studied mosaic painting in Rome under the Cosmati ; but his works are executed in the Florentine style. He was employed upon the mosaics which Giotto executed in the Basilica of St. Peter at Rome, and is said to have also worked from that master's designs in San Paolo fuori le Mura about the year 1305, and to have restored the
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