PAINTERS AND ENGRAVERS.
picture, and finished in 1359, is his most notable
work. It is a white marble shrine with spiial
columns and pinnacles, rising almost to the roof of
the church, and is studded with jewels and enamels
of marvellous beauty. The following paintings
by him still remain :
'Florence. S. JIaria Xovella. Altar-piece (1357), Frescoea of Paradise and of The Last Judgment, London, yational Gall. Coronation of the Virgin (an altar-piece in ttctive divisions : painted for S. J'ietro Maggiore, Florence).
CIONE, Leonardo di, architect and painter, the elder brother of Orcagna, is usually known by the name of Nabdo, which was supposed formerly to be the diminutive of Bernardo, but is now said to stand for Leonardo. If this be so, the works signed "Bemardus de Florentia " — e. g. a triptycli in the Florentine Academy, a ' Virgin and Saints ' in the Ognissanti at Florence, &c. — usually ascribed to Orcagna"s elder brother, cannot be by his hand. But the Strozzi Qiapel. in Santa Maria Novella. Florence, still possesses frescoes which he is known to have executed in conjunction with Orcagna. He flourished about 1350-1360.
CIOR. Pierre Charles, a French painter of historical subjects, portraits, and miniatures, was bom in Paris in 1769. He was a pupil of Bauzin, and became miniature painter to the king of Spain.
CIPPER. See Zipper.
CIPRIANI, Galgaxo, an Italian line-engraver, was bom at Siena in 1775, He entered the school of Rafiaelle Morghen, and was professor success- ively at the Academies of Naples and Venice. His best plates are ' St. Peter and St. Paul,' after Guido Reni, and ' St. John in the Wilderness,' after Titian.
CIPRIANI, GiovAXNi Battista, a painter and etcher, was bom at Florence in 1727. He was of a good family of Pistoia. He attended the school of Ignatius Hugford, an Englishman settled in Florence, where he was a fellow-pupil of Bartolozzi. In 1750 he went to Rome for improvemesit, and after his return to Florence, he painted the organ- screen for the church of the convent of Santa Maria Maddalena de' Pazzi. In 1755 he came to England, whither his reputation had preceded him. It was at a period when the talents of Bartolozzi, the engraver, were in their prime, and the union of the abilities of these two men soon became distinguished through ever}' part of Europe. Perhaps few instances have occurred in which the exertions of the artist have been so happily supported by the taste of the engraver.
(Cipriani executed few large works in painting ; the most considerable of them are at Houghton. He also restored some of Verrio's paintings ai Windsor, as well as the ceiling by Rubens in the chapel at Whitehall, in 1778. He left an infinite numbei of drawings, which may be ranked among the happiest efforts of the art. Cipriani was one of the members of the Royal Academy at its foundation in 1768, and was employed to make the design for the diploma which is given to the Academicians and Associateson theiradnii^sion.and which was finely engraved by Bartolozzi. For this work the Academicians presented him with a silver cup, at the same time acknowledging the assistance they had received from his great abilities in his profession. The original drawing was afterwards sold by auction for thirty-one guineas. He en- graved a few plates, some of which are after liis own designs. These were done for Thomas Hollis,^ to be inserted in his ' Memoirs.' On them is in- scribed, ' Drawn and etched by J. B. Cipriani, a Tuscan.' &c.
In 1761 Cipriani married an English lady, by whom he had two sons, the younger of whom, Captain Sir Henry Cipriani, was brought up as an artist, but afterwards became a clerk in the Treasury, and died in 1820.
Cipriani died at Hammersmith in 1785, and was buried in the Chelsea burial-ground, where Bartolozzi erected a monument to his memory. In the year after his deatli 1100 drawings by him were ciold by auction. His own portrait by himself is in the UfiBzi, Florence, and in the South Kensington Museum are three water-colour drawings by him — 'The Triumph of Cupid,' 'The Jealousy of Damley,' and ' Comedy ' (1783).
CIRCIGNANO, Antonio, who was bom at Pomarance in 1560, was the son and pupil of Niccolo CSrcignano, whom he assisted in many of his works After the death of his father, he resided some years at Citta di Castello, where he painted some of his best pictures, of which the most admired was the ' Con ception,' in the Conventual!, which Lanzi describes as partaking of the styles of Barocci and Roncalli. He returned to Rome, according to Baglione, in the pontificate of Urban VIII, , and was employed for several of the churches. In La Madonna della Consolazione, he painted some subjects of the life of the Virgin ; in Santa Maria Transpontina, the church of the Carmelites, several pictures from the life of St, Albert, He died at Rome in 1620.
CIRCIGNANO, Niccol6, called Dalle Pomarance, or II PO'MARAncio, was bom at Pomarance, in Tuscany, in 1519. Baglione, without saying by whom he was instructed, states that he visited Rome when he was young, in the pontificate of Gregory XIII, , by whom he was employed in the great saloon of the Belvedere. He lived the greater part of his life at Rome, where there are many of his works in the churches. In San Stefano Rotondo, is the MartjTdom of that Saint. In the Tempio del Gesu. there are two chapels entirely decorated by him ; in one he has painted several subjects from the lives of St. Peter and St. Paul, in the other, the 'Nati'ity ; ' in Sant' Antonio is the 'Cruci- fixion.' The Cupola of Santa Pudenziana is also by this master. B.tglione save that he died in the pontificate of Sixtus V. (1585-1590) in the 72nd year of his age: therefore, in 1590,
CITTADINI, Gaetano, was the son of Carlo Cittadini, and was instructed by his father. He excelled in painting landscapes of a cabinet size, with small figures, correctly drawn and spiritedly touched. His works were held in estimation both at Rome and at Bologna. He lived about the year 1725. His brother Giovanni Girolamo was also a distinguished painter.
CITTADINI, Giovanni Battista, Carlo, and Angiolo Michele, were the sons of Pierfrancesco Cittadini, and painted animals, birds, fruit, and flowers, in the style of their father. They resided chiefly at Bologna. Giovanni was bom in 1657, and died in 1693 : Carlo was bom in 1669, and died in 1744.
CITTADINI, Pierfrancesco, called Il Milanese, was born at Milan in either 1613 or 1616, and was brought up ia the school of Guido. He possessed powers for the higher work of art, as is evident from the proofs he has given in the churches at Bologna. His 'Stoning of Stephen,' 'Christ pray-
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