Page:Bryan's dictionary of painters and engravers, volume 1.djvu/410

 altar-pieces, representing Bubjects from the 'Life of the Virgin.' Other churches of his order at Pisa, Siena, &c., also contain works by him. They are all very reputable performances, and in the style of Pietro da Cortona.

CASSIE, James, a Scotch landscape-painter, was bom at Inverurie in 1819 : but the greater part of his life was passed in Aberdeen. He was chiefly self-taught, and at first painted portraits and ani- mals. It was, however, to marine landscapes that he finally devoted himself, and in which he ex- celled. He was noted for calm, quiet effects of moonlight or sunset, and there is hardly a picture of his in existence representing morning or after- noon sunlight. He became an associate of the Scottish Academy in 1869, and was made a full member in the February preceding his death, which took place in May 1879, in Edinburgh, where the last years of his life had been spent. Amongst his chief works are :

Ben Lomond from the Tay. Holy Island Castle. Chalk Cliffs, Sussex. A Highland Goatherd. The Mouth of the Mersey. The Mussel Gatherers. The Firth of Tay— East Coast (A Scotland (in tilt Edinburgh iVational Gallery),

CASSIONE, Giovanni Francesco, was an Italian wood-engraver, who flourished at Bologna about the year 1678. He executed several cuts representing the portraits of the painters for the work entitled 'Felsina Pittrice,' by Carlo Cesare Malvasia, published at Bologna in 1678.

CASTAGNO, Andrea del, was born in 1390, his father, Bartolommeo di Simone, being a small proprietor and labourer in Sant' Andrea a Linari, near Florence. He received the name of ' Del Castagno' either because he was born in the village of Castagno (in the Muggello), or else because he spent there the first years of his life. He was first stimulated to study art by chancing to come across an itinerant painter at work in a tabernacle, which induced him to commence drawing figures on walls and stones. Some of his efforts attracted the attention of Bemardetto de' Medici, who took him to Florence, where he learned to paint. His early life was full of privations, he himself saying that in 1430 he was poor, very poor, inasmuch as he had neither bed, board, nor lodging in Florence, and had but recently been discharged from the hospitals of Santa Maria Nuova and the Pinzocheri, after having endured a few months' sickness. The Btory told by Vasari of his having killed Domenico Veneziano through jealousy is not true: first, because the two artists were never working together at any time ; and secondly, because Domenico survived Andrea nearly four years. Soon after 1430 he painted, for the niches of a hall in the Villa Pandolfini (now a farm-house) at Legnaia, a series of portraits of celebrated men and the Sibyls. These were intended to be viewed at a great height, as may be seen fi'om the remains of them existing in the depot of the UfEzi Gallery. Amongst them are the portraits of Pippo Spano, Farinata, Niccol6 Acciaiuoli, Dante, Petrarch, Boccaccio, as well as Esther, Tomiris, and the Sibyl of Cumje. In 1435 the Government of Florence commissioned Castagno to paint in the Palazzo del Podestd the portraits of the fallen leaders of the Peruzzi and Albrizzi factions. His success in doing this earned him the name of ' Andreino degli Imcic- eati.' In 1444 Andrea worked at the church of Santa Maria dei Fiore, and furnished a design for the ' Deposition from the Cross ' intended for the decoration of the cupola. In 1446 Andrea decorated the organ of the cathedral, and in 1451 painted several frescoes in the hospital of Santa Maria Nuova, where he had been received in his poverty in 1430, and it is concerning the decoration of this building that Vasari tells his story about the rivalry with Domenico Veneziano, whereas records remain to prove that it was six years previous to 1451 that Domenico painted his frescoes. The works of both have now perished. In 1455 Castagno executed, in imitation of sculpture, the colossal equestrian figure of Niccol6 'Tolentino, which now hangs in the cathedral close to the colossal figure of ' Sir John Hawkwood ' by Uccelli, a master whom Castagno approached in style nearer than any other. Castagno died in 1457, and was buried in Santa Maria de' Servi, Florence. His last work, in 1457, was the refectory of the hospital of Santa Maria Nuova. He is said to have painted in oil, but no work by him in that medium exists. Many of this artist's frescoes have perished ; but the following are among those that remain :

Florence. St. Apollonia. Last Supper. „ Academy. St. Jerome. „ „ The Magdalen. „ „ St. John the Baptist. See Crowe and Cavalcaselle's ' History of Paint- ing in Italy,' vol. ii.

CASTAS'EDA, Gregorio, a Spanish historical painter, flourished in Valencia about 1625, and is said to have been the pupil and son-in-law of Francisco Ribalta, to whom his works are usually attributed in Spain. He died at Valencia in 1629.

CASTEELS, Pieter, a Flemish painter and engraver, was born at Antwerp in 1684, and came to England in 1708. He painted birds, flowers, and fruit ; but his paintings have not much to recommend them, and were greatly inferior to those of an English contemporary artist, Luke Cradock. As an engraver he has more merit. In 1726 he published a set of twelve plates of birds and fowls, etched from his own designs ; and, besides these, executed some other plates from his own pictures. He died at Richmond in 1749.

CASTEL, Alexander, was a Flemish landscape and battle painter, some of whose pictures are in the galleries at Munich, Schleissheim, and Lustheim. He died at Berlin in 1694.

CASTELLAN, Antoine Laurent, a French painter, architect, and engraver, was born at Montpellier in 1772. After having studied landscape painting under Valenciennes, he visited Turkey, Greece, Italy, and Switzerland, and published several series of letters upon those parts, illustrated with views drawn and engraved by himself. His best-known work is the ' Moeurs, usages, costumes des Othomans,' published in 1812, and highly praised by Lord Byron. He also wrote ' Etudes sur le Chfi-teau de Fontainebleau,' which was not printed urrtil after his death, which occurred in Paris in 1838. Castellan was also the inventor of a new process of painting in wax.

CASTELLANO, El. See Garcia Hidalgo.

CASTELLI FAMILY. There being two families of artists of the name of Castelli or Castello, the accompanying tables may help to make the relationship plainer.