Page:Bryan's dictionary of painters and engravers, volume 1.djvu/351

 'St. Peter,' ' St. Paul,' and others in the cupolas, after the cartoons of D'Arpino, EomaneHi, Lan- franco, Sacohi, and Pellegrini. The mosaic art was afterwards carried to a much higher degree of per- fection by the Cristofori. He also executed a ' Madonna ' after Eaphael for the Queen of Sweden. He died in 1644 or 1648.

CALANDEUCCI, Giacinto, was born at Pa- lermo in 1646. He went early in life to Rome, where he became the favourite pupil of Carlo Maratti. After giving the most promising essay of his abilities in that city, in his two pictures of 'St, John the Baptist,' in Sant' Antonio de' Portoghesi, and ' St. Ann,' in San Paolino della Kegola, he re- turned to Palermo, where he painted his most con- siderable work for the church of San Salvatore, representing ' The Virgin, with St. Basil and other Saints,' which, according to Lanzi, was not sur- passed by many pictures of the time. He died at Palermo in 1707. His brother Domenico and his nephew GlAasATTlSTA were likewise painters, but neither achieved any great reputation.

CALAU, Benjamin, was a painter bom at Friedrichstadt in 1724, whose work consisted chiefly of heads or portraits. He painted usually in dark tones, using as his medium Cartliaginian wax (are eleodorique), which the ancients made use of instead of oil for painting. Tliis inven- tion of Calau's was in fact an attempt at repro- ducing the process described by Pliny. Further information on this subject may be found in a work entitled 'Traits sur la Peinture des Anciens,' by A. Eiem, published at Berlin in 1787. Calau held for many years the post of Court painter at Leipsio. The Brunswick Gallery possesses two portraits by him, and the Berlin Art Gallery some of his work in wax. He went to Berlin in 1771, and died there in 1783.

CALCIA, Giuseppe, called II Genovesino, was a Piedmontese artist, who from his appellation has been often confounded with Marco Genovesini, a Milanese. Giuseppe painted altar-pieces for the churches of Turin and Alessandria. In the church of the Dominicans at Turin, are pictures of ' St. Dominick ' and ' St. Thomas Aquinas ' by this artist. He is much distinguished by his cabinet historical and sacred subjects, which are gracefully designed and well coloured; one, representing 'Christ in tho Garden of Gethsemane,' now in the collection of the Marchese Ambrogio Ghilini, is particularly noticed by Linzi. He flourished about th • year 1725.

CALCKER, Jan Joost van, who was bom at Calcker about 1460, studied fir.-t in his native town, and then at Haarlem. In 1505-8 he painted scents from the Life of Christ on the wings of the high altar in the church of the Virgin at Calcker; and in 1515 he executed a figure of St. Willebrod for St. BaTon at Haarlem. Works ascribed to him are at Wesel and Eees. He died in 1519.

CALCKER, Jan Stephanos van, was born at Calcker, in Cleve, about 1499, and worked first at Dordrecht, and afterwards, 1536-37, at Venice. In the latter city he entered the school of Titian, and acquired the faculty of imitating that master to a liigli degree of exactness, especially in his por- traits. Subsequently he became an equally sur- prising imitator of Raphael. He drew the illus- trations for Vesalius's work on anatomy, and is said to have drawn the portraits of the artists in Vasari's Lives. He died at Naples in 1546. The following paintings are ascribed to him :

Berlin. Gallery. Paris. Zotivre. Prague. Oalleiy, Vienna. Gallery. Portrait of a Man. 1535 Portrait of a Young Man. The Nativity (once the property of Euhens). Portrait of a Mau.

CALDARA, PoLiDOEO, called Polidoro da Cara- vaggio, a painter who may be considered as be- longing to the Roman school, was born at Cara- vaggio in the Milanese in 1492 (?). His parents lived in the greatest indigence and obscurity, and after passing his youth in misery and want, he was obliged to leave home in search of employment, and on his arrival at Rome was engaged by the artists employed in the Vatican by Leo X., to carry the mortar for the plaster of their fresco paintings. Whilst he was occupied in this humble station he observed with great attention with what facility Maturino and Giovanni da Udine executed the designs of Raphael ; and, inspired by his natural disposition for art, he made some attempts, which attracted the notice of Raphael, of whom he afterwards became one of the most illustrious disciples. His assiduous application in studying the ancient statues and bas-reliefs was such, that in a little time he appeared to have imbibed the true spirit of the Grecian sculptors. Finally he was selected by Raphael to paint the friezes which accompanied his works in the apartments of the Vatican ; and they were in no way unworthy of being placed with the sublime productions of that ^ great master. It was the custom at Rome, in the time of Polidoro, to ornament the exterior of the principal houses and palaces with the works of eminent artists, executed in a style called by the Italians sgrafitto, expressed by hatchings on the plaster, in the manner of engraving. In works of that nature Polidoro and his friend Maturino were much employed ; and it is greatly to be regretted that exposure to the weather and the ravages of time have deprived the world of these valuable productions, of whose beauty we may form some judgment from the prints which have been engraved from some of them by Clierubino Alberti, Heinrich Goltzius, and Giovanni Battista Gales-Iruzzi. Polidoro was at the height of his success and popularity when Rome was taken by storm, and sacked by the Spaniards, in 1527. lie took refuge at Naples, where he was most kindly received by Andrea da Salerno, whose acquaintance be had made at Eoine, and who was the means of procuring him immediate employment. He soon opened a school there, and more particularly devoted himself to the fresco decorations of walla and ceilings. After passing some time at Naples, he went over to Sicily, where his first employment was painting the triumohal arches which were erected at Messina on the occasion of Charles V.'s return from his expedition to Tunis. His next work was his celebrated picture of ' Christ bearing the Cross,' a grand composition of many figures, painted in oil with a beauty and harmony of colouring which proved that he was also capable of distinguishing himself in that branch of art The story runs that, Rome being restored to tranquillity, he was desirous of returning thither, and that, preparatory to his departure from Sicily, he drew from the bank his money, tempted by which his Sicilian servant, Tonno, murdered him at Messina in 1543. The principal works of Polidoro da Caravaggio are — his friezes and other ornaments in the Vatican ; in the garden of the Palazzo del Biif alo at Rome, the ' Fountain of Parnassus ; ' and-