affairs. When the king, after repeated defeats, signed an armistice, by the terms of which Milan was again delivered up to the Austrians, Cattaneo went to Switzerland, where he published a valuable work on the Lombard insurrection, and the true causes of its overthrow—as a commentary to which he undertook the publication of very important historical documents relating to that period, under the title of "Archivio Storico," of which three volumes have already appeared. Cattaneo has been created a Swiss citizen, in consideration of his valuable services in relation to various undertakings of public industrial and economical utility, and has been honoured with the appointment of professor of philosophy at the lyceum of Ticino. Among his most important works may be mentioned a translation of Zschockke's History of Switzerland; "Notizie Naturali e Civili della Lombardia;" and the "Lettere sopra alcune instituzioni agrarie dell' Alta Italia applicabili a sollievo dell' Irlanda," written in reply to some questions addressed by Lord Ebrington to the Austrian government of Lombardy.—E. A. H.
CATTANEO, Danese, an Italian sculptor and architect, was born at Carrara about 1500. He spent some time at Verona, as a pupil of Sansovino. Among many other works he executed the tomb of the Venetian general, Alexander Contarini, at Padua; the mausoleum of Giano Fregoso at Verona; and the tomb of Andrea Badouero at Venice. Cattaneo left behind him a long poem entitled "L'Amor di Marfisa."—J. T.
CATTANEO, Giammaria, a learned Italian writer, who died at Rome in 1529, was the author of a celebrated commentary on the Letters and Panegyric of Pliny the Younger: Venice, 1500, and Milan, 1506; of translations of Isocrates and Lucian; and an unfinished poem on the taking of Jerusalem by the crusaders.
CATTENBURGH, Adrian Van, a Dutch divine, born in 1664; died in 1737. He was one of the leaders of the Dutch Remonstrants, and held the Arminian tenets of that sect. He is the author of "Spicilegium theologiæ Christianæ Philippi a Limborch," 2 vols., folio; a "Life of Hugo Grotius" in Dutch, 2 vols., folio; "Bibliotheca Scriptorum Remonstrantium," 1 vol., 8vo; "Syntagma Scientiæ Mosaicæ," 4to, against deists and atheists.—J. T.
* CATTERMOLE, George, an English painter in water-colour, born in 1800 at Dickleburgh in Norfolk. His subjects are chiefly prominent scenes in English history, in Scott's novels, and Shakspeare's plays. His productions are distinguished by genuine poetic feeling and fineness of colour and tone. He designed the engravings for the History of the Great Civil War in England by his brother, the Rev. R. Cattermole.—J. B.
CATTHO, Angelo, archbishop of Vienne, was born at Tarentum, and died at Vienne in 1494. He resided for some time at the court of Charles the Bold of Burgundy, and was the friend of Philip de Comines, to whom he gave some assistance in the composition of his celebrated Memoirs. After the defeat of the duke of Burgundy by the Swiss, Cattho repaired to France, where he was cordially welcomed by Louis XI., who made him his almoner, and afterwards created him archbishop of Vienne in 1482. He addicted himself to the study of astrology, and is said to have announced to Louis the death of his enemy, the duke of Burgundy, at the moment it occurred.—J. T.
CATTON, Charles, an English artist, born at Norwich, who served his apprenticeship as a coach painter. He afterwards studied in the academy of St. Martin's Lane. He was the first to introduce any close resemblance to nature, or indeed any sort of art, in the rendering of the animals of heraldic designs. A collection of his drawings of animals was engraved and published. He was chosen one of the original members of the Royal Academy, and became master of the company of paper stainers in 1784. He died in 1798.—His son Charles had some fame as a landscape painter. He emigrated to New York in 1800, and died there in 1819.—W. T.
CATULLUS, Caius Valerius, one of the two poets of the republic whose genius still shines with a lustre unobscured by the brilliancy of the Augustan age. Old politics often pass away in a blaze of light. The sunset of Greek liberty was the meridian of Greek speculation. The last days of free Rome were peculiarly rich in the display of literary eminence, and illuminated by a whole cluster of great names. The earlier poets were rivalled, if not surpassed, in the graces of refinement and fluency by those who, in the succeeding epoch, adorned the imperial court; but they had on their side all the advantage of greater freshness and greater freedom. They were at least imitators at first hand; their language and imagery were new in Latin speech, while those who followed in their track frequently present only the reflection of a reflection. This freshness is a distinguishing feature of the poems of Catullus. He was a keen student of her literature, and adopted many of his measures, thoughts, and expressions from the lyrists of Greece. Some of his verses are direct translations; others in their metaphors, phrases, and subject matter, vividly recall Greek models. But those phrases and expressions had not become the common stock of poetry, and he applied them with all the vigour of an original mind to the purposes of his own inspiration. He lived before the times of patronage and dictation, with a large share of that daring spirit which belongs more to an ideal than an actual republic. He wrote to please himself, his mistress, and his friends, because he chose and as he chose, and this gives his verses the fascination of freedom which we sometimes miss in Horace, and look for vainly in Virgil. The personal career of the poet was that of most youths of fortune in his age. He was born at Verona about 87 b.c. His father, Valerius, held a good station in society, and was known as the friend and occasional host of Cæsar. Catullus himself must have enjoyed a comfortable independence. Besides the family residence on a promontory of the Lago de Garda, he had a villa near Tibur, celebrated in another of his songs. He came to Rome early in youth—"venustus et dicax et urbanus"—and became a favourite with the wits and ladies of the city. Cicero, C. Nepos, Asinius Pollio, Varus, and Calvus were among his friends; to the first he offers one of his most complimentary addresses; the last is the theme of one of his lighter satires. Having wasted his means by a somewhat reckless pursuit of pleasure, Catullus was pestered by duns, and accompanied the prætor Memmius to Bithynia, with a view of reinstating his fortune. Disappointed in his hopes of the expedition, he has recorded his chagrin in verses which allude to "Memmii clara propago" in terms strangely contrasting with the eulogy of his more philosophic admirer. The "Dedicatio Phaseli," and the exquisite lines in praise of Sirmio, refer to the poet's return. The death of his brother in the Troad, which called forth some of the most touching expressions of fraternal affection, probably occurred at a later period. The exact term of his own career is unknown; it is only evident from Carmen 52 that he must have seen Vatinius consul in 47 b.c. He appears to have divided the latter years of his life between his northern villa and the capital.
The poems of Catullus which have come down to us are derived from a MS. discovered at Verona early in the fourteenth century. They consist of one hundred and sixteen pieces, a large proportion of which record the shifting moods of the poet's impulsive nature. The most ardent of lovers, a warm friend, a good hater, he has given expression to all forms of passion, with an equal disregard of restraint. His amatory verses are, in their grace, sweetness, and simplicity, gems of art, but they owe their special charms to an air of genuineness. Rich in the most playful fancies, none of them seem to have been written as mere exercises of the imagination. Catullus found in song the natural vent for strong feeling. Whoever Lesbia or Clodia may have been, some living and breathing beauty must have set the poet's heart on fire. His epigrams sparkle with wit, sprightly or spiteful as they serve to preserve a jest or perpetuate sincere indignation. Their scurrility must be explained by the taint of coarseness which pervaded the literature of the time. Three of the most virulent are aimed at Cæsar himself. There is a story told, that on reading one of them, he threw it into the fire, and invited the writer to dinner on the same afternoon, which, if true, places in a conspicuous light the magnanimity of the great Julius. Among the finest of those fugitive pieces are "Ad Passerem; "Miser Catulle, desinas ineptire;" "Furi et Aureli comites Catulli;" "Ad Dianam;" "De Acme et Septimio;" "Ad Pocillatorem," &c. The three elegies "Ad Hortalum," "Ad Manlium," and the "Inferiæ ad Fratris tumulum," are interesting memorials of the author's life, and express with delicate pathos the sorrows of his bereavement. Of the poet's longer performances, the most remarkable are the two odes written for the nuptials of Julia and Manlius, the "Epithalamium Pelei et Thetidis," and the "Atys." The first are for passionate depth of conception, beauty of expression, and choice profusion of imagery unrivalled among the love songs of classical antiquity. The exquisite stanza about the young Torquatus has tried and baffled a host of copyists, while the similes of the flower and the vine
