Page:Bryan's dictionary of painters and engravers, volume 1.djvu/348

 Lac de Nemi.' exhibited with ' Une Source dans ]es Bois' in 1864, was acquired by the Emperor Napoleon III., and re-exhibited at the Universal Exhibition of 1867, where it was awarded a third- class medal. He had gained a second-class medal at the Salon of 1834. He also etched a few plates from which a limited number of proofs were struck off. Elected a member of the Academy of Beaux Arts, he replaced M. Brascassat in November 1867. Exactly eleven years later he was named Director of the French School of Rome, which post he occupied until 1884. Chevalier of the Legion of Honour since 1843, he was promoted officer on the 14th of November, 1855. His pictures of ' Le Jeune Tobie prdsent^ par I'Ange k Raguel,' ' Le Lac de Nemi,' and ' Genzano, prfes de Rome,' were acquired by the Due d'Orleans. Most of his best-known pictures have been reproduced in ' L' Artiste' and other periodicals. He died on the 13th of March, 1893.

CABEL, Adriaen van der. See Van der Cabel.

CABEZA DE VACA, Francisco Vera, was born about 1637 of a distinguished family at Calatayud, and began life as page to Don Juan of Austria at Saragossa. With the example of this master, and some instruction from Josef Martinez, he became a skilful amateur painter, especially of portraits. Cabeza de Vaca did not accompany his master, Don Juan, to the seat of government, but settled at his native Calatayud, where he spent a life of piety and almsgiving, preparing himself for work by confession and the Eucharist, and thus gaining high repute for holiness. He is the last Spanish painter of whom it is said that the Blessed Virgin herself stood by his easel and unveiled her celes- tial charms, that he might portray them in the picture of ' "The Holy Family,' which was jealously preserved and fervently adored in the convent of the Holy Sepulchre. The favoured artist died at Calatayud in 1700.

CABEZAI/ERO, Joan Martin, a Spanish painter, was born at Almaden, near Cordova, in 1633. He was a disciple of Juan Carreno de Miranda, and gained considerable reputation by his historical paintings. His principal works are at Madrid, two of the moat esteemed, representing ' The Assump- tion of the Virgin ' and ' St. Ildef onso,' being in the church of San Nicolas. He also painted for the church of the Franciscans an ' Ecce Homo ' and ' The Crucifixion.' His ' Judgment of a Soul ' is in the Museo Nacional at Madrid. He died at Madrid in 1673.

CABRERA, Geronimo, a Spanish painter of con- siderable merit, was a pupil of Gasparo Becerra. He painted a large number of religious subjects for churches and convents, but excelled especially in fresco, in which he executed some decorations for the royal snooting-box of El Pardo, near Madrid, about 1570, but these perished by fire in 1604. His name is now almost unknown, doubtless by reason of his works passing as those of his master. There is no record of his birth or death.

CACAULT, Pierre ReniI;, a French historical painter, was born at Nantes in 1744. He was a pupil of Vien, but he never rose above mediocrity. He died at Clisson in 1810. The Museum of Nantes has by him 'A Man seated on a Tiger's Skin.' He was the brother of Franyois Cacault, ambas- sador of France at Rome, whose fine collection of works of art was acquired by the city of Nantes in 1810.

CACCIA, GuGLlELMO, called Moncalvo. was a Piedmontese, born at Montabone, in Monferrato, in 1568. He was named Moncalvo from his long residence at that place. Although he is believed to have been a pupil of Soleri, it has not been definitely ascertained under whom he studied. He first settled at Milan, where he painted some pictures for the churches, but afterwards resided for some time at Pavia, where he was made a citizen. He also visited Novara, Vercelli, Alessan- dria, and Turin, and Genoa is not without some of his paintings. His style has something of the energy of the Carracoi ; but it has been observed by Lanzi, that if he had been educated in the school of the Carracci, it is probable that he would have left some of his works at Bologna, and that in his landscapes he would have shown more of the taste of Annibale than of Paulus Bril. His manner partakes altogether more of the Roman than of the Bulognese school. There is a ' Madonna ' by him in the Gallery at Turin, ' which, were the colour a trifle brighter, might well pass for a work of Andrea del Sarto. As a fresco painter his ability was considerable. In the church of Sant' Antonio Abbate, at Milan, he painted in fresco the titular Saint, with St. Paul, the first hermit, a work which is able to sustain its posi- tion in proximity to some of the best productions of the Carloni. Another distinguished perform- ance in fresco by Caccia is the cupola of San Paolo at Novara. Of his oil paintings, the most effective are ' St. Peter,' in the Chiesa della Croce, ' St. Theresa,' in the church of the Trinity, both in Turin, and the 'Taking do^vn from the Cross,' in the church of San Gaudenzio at Novara, which is considered by many to be his chef-d'oeuvre. At Moncalvo, the church of the Conventual! may be considered as a gallery of his works. At Chieri also are two fine pictures by this master, the ' Raising of Lazarus ' and the ' Miracle of the Loaves,' admirably composed, and of the finest expression. He died about 1625.

CACCIA, Orsola Maddalena, was a daughter of Guglielmo Caccia, who, in common with her sister Francesca, assisted in producing the paintings in the monastery at Moncalvo. Other paintings by the sisters are to be found in the vicinity. They partake of the character of the works of their father, but lack their animation. Orsola died in 1678, and Francesca at the age of 57.

CACCIANEMICI, Francesco, was a Bolognese painter, educated in the school of Primaticoio, who was considered by that master so promising a scholar that he made choice of him as one of the young artists who should accompany him to France, when he was invited to the Court of Francis I. He assisted Primaticcio in his great work at Fontainebleau, and was employed, in con- junction %ntn II Rosso, in several otlier important works. He died in 1542. For another Feantesco Caccianemici see Capelli, Francesco.

CACCIANEMICI, Vincenzo, was a Bolognese gentleman, who was instructed in the art of painting by Parmigiano. Vasari mentions a picture by this amateur artist in the chapel of the family of Elefantuzzi, in San Petronio at Bologna, representing 'The Decollation of St. John;' and another picture of the same subject, differently treated, in the Cappella Macchiavelli in San Stefano. He flourished about the year 1530. There are a few etchings, marked F. C F. (and in one case with V- C. reversed), which are attributed to this painter, and which are executed with much spirit in a style