Page:Bryan's dictionary of painters and engravers, volume 1.djvu/415

 As an engraver, Benedetto is deserving of par- ticular notice. He has left us about seventy plates, executed with all the taste and spirit that are seen in his pictures. They are etched, and sometimes a little assisted by the graver, masterly in their effect of light and shade, and may be favourably compared with Rembrandt, Delia Bella, and other engravers in that style. The following are his principal prints, which are frequently marked with the cipher i^., G.B.C, or BEXEDto CAS. :

The Genius of Benedetto Castiglione, serving as a frontispiece to his work. Portrait of Agostino Mascardi. Portrait of ADtonio Pignolesale. Sixteen small Heads, among which is his ovm portrait. Six large Heads, one of them his own portr-iit. Two plates of the Heads of Men and Animals. Noah and his Children collecting the Animals. Noah driving the Animals into the Ark. The Departure of Jacob. Eachel hiding her Father's Gods. Tobit burying the Dead ; a night-piece. A similar subject ; iii chiaroscuro. The Nativity, with Angels adoring the Infant. The Adoration of the Shepherds. The Angel appearing to Joseph in his Dream. The Flight into Egypt. The Resurrection of Lazarus. St. Roch in profile, behind him the Head of his Dog. The Melancholy ; a print so called. The Little Melancholy. The Finding of the Bodies of St. Peter and St. Paul. Four old Men visiting the Tombs by torch-light. Circe in search of the Arms of Achilles. A Man with some pieces of Armour, and another examining a Tomb. A Man pushing a Boat in which are some Animals. Diogenes with his Lantern. Pan instructing Apollo to play on his Flute. Silenus playing on a Flute, with a Shepherdess. A Combat of Sea Gods. Silenus drunk, with three Satyrs. A Bacchanal, with a Satyr on a Pedestal. A "VToman beating a Boy. A Menagerie of various Fowls. A Landscape. 165S. A Landscape ; apparently a frieze. A Shepherd driving his Flock. Two Shepherds, one on Horseback, driving their Flocks. A Capuchin discovering the Body of St. Jerome. Eleven plates of Vignettes, &c.

CASTIGLIONE, Salvatore, was the brother of Giovanni Benedetto Castiglione, by whom he was instructed in the art, and he painted landscapes and pastoral subjects so much in the style of his master that the most sagacious are often deceived. We have also by him a highly-finished etching repre- senting the ' Resurrection of Lazarus,' signed, and dated 1645.

CASTILLO. See Del Castillo.

CASTREJON, Antonio de, a Spanish painter, was bom at Madrid in 1625. He was a scholar of Francisco Fernandez, and possessed more facility in colouring than skill in drawing. His best works are of small dimensions, but he sometimes painted large altar-pieces, as the ' Martyrdom of Santa Lucia,' in the church of San Felipe el Real at Madrid, which perished by fire in 1718. He likewise painted figures in the architectural pieces of Roque Ponce and of Josef Garcia, as well as groups within the flower-garlands of Gabriel de La Corte. He died at Madrid in 1690.

CASTRO, Antonio Fernasdez de. See Fernandez DE CaSTEO.

CASTRO, GlAcoMO di, according to Dorainici, was bom at Sorrento about the year 1597. He was a pupil of Giovanrii Battista Caracciolo, but afterwards received the instructions of Domeni- chino when that master visited Naples to decorate the chapel of the Treasury. The churches of Sor- rento possess works by him, one having a picture of 'The Marriage of the Virgin' that is highly esteemed. He died in 1687.

CASTRO, Jdan Sanchez de. See Sakchez de Castro.

CASTRO, JLanoel de, a Portuguese painter and scholar of Claudio Coelho at Madrid. He was in 1698 appointed painter to Charles II. of Spain, in succession to Bartolom^ Perez, on account of the ability which he had displayed in two pictures which he had painted for the Convent of the Trinity, ' Our Lady attended by Angelic Choristers,' and ' Our Lady redeeming Captives,' and a fresco in the Convent of Mercy. According to Cean Bermudez his drawing was incorrect and his compositions of verj- unequal merit. He died at Madrid in 1712, after executing works for the churches of San Juan de Dios, and San Felipe Keri.

CASTRO, Pedro de. was a Spanish artist who is known as an admirable painter of still-life. His subjects are arranged skilfully and coloured truth- fully, great force being added to them by his know- ledge of chiaroscuro. Very little is known of his life ; his death occurred in 1663.

CATALANI, Antonio, called II Siciliano, was born at Messina in 1560. Lanzi is of opinion that he studied at Rome, and fonned his style from the works of Federigo Barocci, from whence he ac- quired that harmony of colour and softness of effect which are seen in his works. Such is his large picture of 'The Nati^nty ' in the church of the Capuchins at Gesso. He died in 1630.

CATALANI, Antonio, called II Romano, was born at Bologna about the year 1596, and was educated under Francesco Albani. He was a close imitator of the pleasing style of his master, and painted several pictures for the churches at Bologna, although he was more employed on easel pictures for the private collections In the church of La Madonna del Grado are four pictures of the patron Saints of the city, in four niches ; and in the church of the Gesil, ' St. Peter healing the Lame at the Gate of the Temple.'

GATE, Hendrik Gerrit ten. See Ten Cate.

CATEL, Franz Ludwio, was bom at Berlin in 1778. He commenced his artistic career by carving in wood, and then designed illustrations for unimportant works, executing in 1799 ten plates for Goethe's 'Hermann and Dorothea.' He next worked in Indian ink and water-colours, producing in 1806 a large piece in the latter medium, representing 'The Death of Nicholas of Bernau,' which gained him admission into the Berlin Academy. In 1807 he went to Paris, where he studied oil painting. The year 1812 found him at Rome, and there his education as an artist was much advanced by his connection with Koch, Overbeck, Schadow, and Cornelius. His inclination led him more especially in the direction of painting landscapes with architectural details or prominent figures introduced. He attached himself to the new classic school of landscape, labouring especially to make his perspective tell effectively, and to gain a great mastery over light and shade. His ideas gained much in point of breadth from a visit to Sicily, which he made in company with Prince Golitsuin in 1818. He settled at Macerata in 1830, but returned home on a visit in 18-10, on which occasion a professorship