Page:Biographical catalogue of the principal Italian painters.djvu/78

 CIMABUE— COLLE. 47 ters in Tuscany. Cimabue, however, was in a great measure free from the conventionalities of the old Byzantine style, and gave individual expression to the heads ; he folded the draperies and grouped the figures with greater art than the Greeks, and if he did not revive painting in Italy, he at least upheld it with honour and glory in his time, and was a worthy follower of Ginnta of Pisa, whose pupil at Assisi he may possibly have been, if he ever painted at Assisi. Time may show that all the frescoes in that church attributed to Cimabue, by Vasari, were the works of Giunta. Works. Assisi, frescoes in the upper church of San Francesco, History of the Old and New Testament (it is now disputed whether Cimabue ever painted in this church). Florence, Academy, Madonna and Child, with Angels {tem- pera) : Santa Maria Novella, Madonna : in the Bucellai Chapel: Santa Croce, Chapel of San Francesco, St. Fran- cis (doubtful). Pisa, Duomo, Mosaic. Louvre, Madonna and Angels, formerly in San Francesco, at Pisa. {Fasari^ Humohr.) CITTADINI, PiERFRANCESCO, called II Milanese, b. at Milan, 1616, d. 1681. Bolognese School. He studied origi- nally in Bome, and then became the pupil of Guide, at Bologna, but even- tually distinguished himself as a pain- ter of game, and of fruit and flowers. His historical pieces are rare. His two sons, Gio Battista and Carlo, followed the same style; game, stiU life, &c. {Giordani.) CLOVIO, GiULio, 6. at Grisone, in Croatia, 1498, d, at Bome, 1578. He stu- died at Bome, in the school of Giulio Bo- mano, but by the advice of that master took to miniature paintin g ; Girolamo dai Libri instructed him in this branch of the art, and he eventually attained the distinction of being the most cele- brated miniature-painter of his time in Italy. His works are distinguished almost exclusively for their high finish ; they are inferior to those of Memling. He is an example of what industry will . do without genius or taste; his draw- ing is mannered and ill-proportioned. Works, Naples, Boyal Library, Uf- Jizio della Madonna, .British Museum, Miniatures of Charles V. {Vasari,) CODAGOBA, ViviANOi painted at Bome about 1650. Boman School. He was a landscape and architectural painter, and drew the minority of the ruins of ancient Bome ; the figures were mostly inserted by Domenico Gar- giuoli. The collections of Naples pos- sess several joint works by these artists ; Codagora's works are correct in per- spective, but have blackened through time. {Lanzi.) COLA, Gennaso di, h. about ld20, d, about 1370. Neapolitan School. A pupil of Maestro Simone, the friend and contemporary of Giotto ; he com- pleted the unfinished works of his mas- ter in the cathedral, and executed with his fellow pupil Stefanone, some exten- sive frescoes from the Old and New Testaments, in the church of San Gio- vanni a Carbonara, which have now perished. His works are necessarily somewhat constrained, hard, and dry : Dominici says some of his remaining pictures are executed in oil ; this must be an error for tempera. Works. Naples, Sta. Maria della Tieiky the Mater Dolorosa, with the dead body of Christ; in a chapel of the same church, the penitent Magdalen. {Dominici.) COLLE, Baffaellino del, of CoUe, nearBorgo San Sepolcro, painted 1515- 1546. Tuscan School. He studied first under Baphael, and subsequently became a scholar of Giulio Bomano, whom he assisted in the Hall of Con- stantine, in the Vatican; and at the Palazzo del Te at Mantua. In the churches of San Bocco, and of the