CACCIA, Guglielmo, a Piedmontese painter, born at Montabone in the duchy of Monferrato in 1568. He was surnamed il Moncalvo, from his long residence there. He painted church pictures at Milan; afterwards lived for some time at Pavia, and was favourably known at Novara, Vercelli, and Turin. His chief work in oils is considered to be his "Descent from the Cross," in the church of S. Gaudenzio at Novara. His "Raising of Lazarus," and "Miracle of the Loaves," at Chieri, are also highly esteemed. As a painter of frescos, his reputation is considerable. The most remarkable is perhaps his "St. Antonio" in the church of that saint at Milan. His cupola of "St. Paul" at Novara is another valued production. In his fresco work, he was much aided by his two daughters, Orsola and Francesca—almost the only female professors of that art. Caccia died in 1625.—W. T.
CACCIATORE, Niccolo, an Italian astronomer, born at Casteltermini in Sicily in 1780. He was professor at Girgenti in 1796, and of ancient geography at Palermo in 1797. In the following year he commenced his astronomical studies, and in 1803 published an astronomical catalogue, which, after a second publication in a revised and extended form, was crowned by the Institute of France. He reckoned the number of principal stars at 220. The directorship of the observatory at Palermo was held by him for a long period. His works are numerous and valuable.—J. D. E.
CACCINI, Giulio, sometimes called Giulio Romano, a musician, distinguished as a singer, and still more as one of the earliest composers of recitative. He was born at Rome about 1560, and died shortly before 1640. He was a pupil of Scipione Della Palla, of whom he learned to sing and play upon the lute. In 1578, being already an accomplished artist, he went to Florence, where, in the following year, he sang at the nuptials of Francesco di Medicis; and he became attached to the court of this prince as a singer in 1580. He became associated with Giovanni di Bardi, count di Vernio, Giacomo Corsi, Pietro Strozzi, and Vincenzo Galileo (the father of the famous philosopher), who, dissatisfied with the vague expression of music in the madrigal style, sought to restore to the art the declamatory character it held in the ancient Greek drama: to this end they purposed to limit performance to a single voice with instrumental accompaniments, to discard all repetition of words, and to dispense with all definite rhythm—in short, to originate recitative. The new form of composition was peculiarly congenial to Caccini, because, though he had great natural ability, he was wholly unlearned in counterpoint, and thus unable to write in the style which, at that time, had general prevalence. The first work he produced, according to the new principle, was a monodrama, entitled "Combattimento d'Apolline col serpente," which was represented in 1590 at the palace of the count di Vernio, who was the author of the poem. This is said to have been modelled upon Il Satiro, a somewhat similar composition of Amelio Cavaliere, but which, having been brought out in the same year, is quite as likely to have been founded upon Caccini's monodrama. After this the count quitted Florence, and the palace of Corsi then became the rendezvous of the musical reformers, where Caccini's second production, "Dafne," was represented in 1594. Rinuccini, who was the author of this poem, wrote a lyrical tragedy called Euridice, for the celebration of the marriage of Henri IV. with Maria di Medicis in 1600, for which Caccini wrote pari of the music, the greater portion being by Jacopo Peri; but he subsequently reset the entire work, and this composition is spoken of by contemporaries as the best he produced. In 1600, also, he wrote, together with Peri, Il Ratto di Cefale, the poem of which was by the same author. Besides these dramatic compositions, Caccini wrote many songs of various character for a single voice, a collection of which was published at Venice in 1615, under the title of "Le Nuove Musiche."
The character of Caccini as a composer has been misrepresented by Burney, who even makes such errors in his account of the instruments employed in Euridice, that we may suppose this historian either to have been totally ignorant of the work, or to have wilfully given a false description of it. He has been followed in his account by Gerber, and later German writers, for all which, however, existing compositions corroborate the eulogies of the musician's contemporaries, and prove him to have had great power of expression in his recitatives, and graceful fluency in his melodies. The warmest praises of his singing are to be found in tracts of several writers of his time; his excellence as a vocalist may, doubtless, be associated with the especial merit of his music, which formed a most important innovation in the progress of the art.—G. A. M.
CADAHALSO or CADALSO, José de, a Spanish poet, born at Cadiz in 1741. He was educated at Paris, and before he was twenty years of age had travelled in Italy, Germany, England, and Portugal. He embraced a military career, in which he attained the rank of colonel, and was intimate with all the best men of his day in all classes. Wherever his duty led him, and especially during a residence in Salamanca from 1771 to 1774, he found opportunities of prosecuting literary studies. He was killed at the siege of Gibraltar, 27th February, 1782. His principal works are a tragedy of no great merit entitled "Don Sancho Garcia," published in 1771 under the pseudonym of Juan de la Valle; a volume of poems entitled "Ocios de mi Juventud" "Eruditas a la Violeta," and "Moorish Letters," published after his death—a work after the model of the Turkish Spy, or the Citizen of the World, but more literary, and full of local allusions. In this last work he takes occasion to correct some of the errors of Montesquieu in the Lettres Persannes. He also wrote an imitation of Young's Night Thoughts, entitled "Noches Lugumbres." There is an edition of the works of Cadahalso in 3 vols., Madrid, 1818.—F. M. W.
CADALOUS, Pierre, or HONORIUS II. See Alexander II., Pope.
CADA MOSTO, Alvise or Luigi da, one of the adventurers employed by Henry of Portugal in the fifteenth century to explore the African coast, was a native of Venice; born in 1432; died in 1480. In 1455, nominally under the command of a Portuguese captain, but really head of the expedition, he set out from Cape St. Vincent with a ship of ninety tons. Actuated less by love of gain than by an honourable ambition of discovery, in the course of a few months he visited Madeira, the Canaries, and the coast of Senegal, and, on being joined by another Italian voyager in the service of Henry, proceeded as far as the Gambia, everywhere collecting valuable information with respect to races, commercial depots, and subjects of geographical and natural science. On a second voyage he discovered the islands of Cape Green, passed Cape Roxo (the name he gave it), and entered the Rio Grande. About 1463 he published his journal of these voyages, which was reproduced in 1507 under the title, "La Prima Navigazione per l'Oceano alle terre de' negri della Bassa Etiopia."—J. S., G.
CADAVAL, Nunho-Cætano-Alvarez-Pereira de Mello, Duke of, a Portuguese statesman, born in 1798. He was a member of the regency-council appointed on the abdication of Don Pedro; but, seduced by the nobles who represented the absolutist party, he abetted Don Miguel, first in his seizure of the regency, and then in his attempt on the crown. At last, when the battle of Almoster restored the constitutional power, he was abandoned by both parties. He died in Paris in 1838.
CADDAH, the surname of Abdallah, who, with his father, Maimun-Caddah, was a zealous propagator of the Ismaili sect among the Mohamedans in the third century from the Hegira. He founded numerous secret societies in Syria, Persia, and Northern Africa. The object of the sect, and of all the confederations for its advancement, was the establishment in the khalifate of one of the race of Ismail. While this was the political object of the Ismaili, they had also a set of hidden doctrines preserved by them in a work named Meizan, or the Balance, in which indifference to all rules of morality, and disbelief in all the tenets of religion, were inculcated. These doctrines bore ample fruit when the principles of the sect were openly avowed and practised by the Carmathians (see Carmath), the Ismaili khalifs of Egypt (see Cader B'Illah), and the assassins of Persia.—J. B.
CADE, John, the leader of a popular insurrection in the reign of Henry VI. He was a native of Ireland, but claiming kindred with the house of York, and assuming the name of John Mortimer, he collected 20,000 followers, chiefly Kentish men, who in June, 1450, flocked to his standard, that they might claim redress for the grievances so widely felt, which were laid to the charge of the then fallen duke of Suffolk and other ministers of the crown. Cade defeated a detachment of the royal forces at Sevenoaks, and at length obtained possession of London, the king having retired to Kennilworth; but having put Lord Say cruelly to death, and laid aside the appearance of
