Page:Bryan's dictionary of painters and engravers, volume 1.djvu/420

 esteemed almost equal to the works of Annibale Carracci. At this time his design was elegant and correct, and his colouring so tender, and at the same time so vigorous, that it is recorded by Lanzi, that Albani, on being asked by a stranger if there were any pictures by Titian at Bologna, replied, " No, but there are two by Cavedone in San Paolo, which amply supply the want of them, and are even painted with more spirit." In his fresco works he was singularly harmonious, using tints with little variety, but so admirably appropriated to that style of painting, that Guido adopted him as a model. Cavedone, who in the prime of his career promised to he the honour and support of art in his country, was reduced in later life to the miserable necessity of painting ex voii for sub- sistence. Superstition had charged his wife with witchcraft, and that absurd accusation plunged him into the deepest affliction. The loss of an only son, who had shown the most marked and promising disposition for art, filled the cup of his affliction. lie sank into a childish and stupid despondency, and died in wretchedness and want, in Bologni, in 1660, aged 83. His principal works are :

Bologna. Pinacoteca. 'San Paolo. , Ospitale di S. ) Francesco, j, iS". Salvatore. , S. Michele in Bosco. Virgin adored by SS. AI6 and Petronius. 1614. The Martyrtlom of St. Peter of Verona, The Nativity. The Adoration of the Magi {hia masterpiece). Holy Family, with SS. John and Francis. The Four Doctors of the Church. . St. Cecilia. The Martyrdom of SS. Tiburtius and Valerian. Death of St. Benedict. The Virgin and Child, with three Saints. His own Portrait. Adoration of the Shepherds. I^Iagdalen. St. Stephen home up to Heaven. Pieta (tvo). St. Cecilia. St. Sebastian. „ S. Maria delle Laudi. J Florence. I'ffi^i. Madrid. Gallery. Modena. Este Gall. Munich. Pinakothik. Paris. Lou vre. Vienna. Belvedere.

CAVENAGHI, Emilio, an Italian painter of landscapes and genre pieces, was born in 1852. 'La Stanza Poldi,' and 'The Music Amateur,' are two of his best performances. He also designed many woodcuts for book-illustrations. He died at Milan in 1876.

CAWSE, John, who was bom about 1779, ex- hibited portraits at the Academy in 1802, and afterwards historical pictures. He is best remem- bered by his work ' The Art of Painting Portraits, Landscapes, Animals, Draperies, &c., in oil colours,' published in 1840. He died in 1862.

CAXES, Edgenio, (Caxesi, or Caxete,) the son and scholar of Patricio Caxes, was born at Madrid in 1577. He assisted his father in several of his works for the court, and was made painter to Philip III. in 1612, after having finished the 'Judgment of Solomon,' in the king's audience room in the Pardo. He afterwards painted the large altar-piece in the convent of Our Lady of Mercy at Madrid, and scenes from the life of Agamemnon in the Alcazar. He was reappointed court painter by Philip IV. in 1621, and painted the portrait of that king, as well as some historical works for the royal palaces. He executed several works in fresco, in conjunction with Vicente Carducho, for the cathedral of Toledo. It is remarkable that almost all the works of this artist, except those mentioned below, have been destroyed by fire. The convent of San Felipe el Real at Madrid, where were many of his works, was burned in 1718, and the Palace of the Pardo also perished by fire. He died at Madrid in 1642. The following pictures are by him :

Copenhagen. Museum. Fall of the Rebel Angels. 1605. Madrid. S. Martin. The Nativity, and the Adoration of the Magi. ,, Monastei'j/ of) San Auyustin >SS. Joachim and Anne. Calzado. J „ Museum. Landing of the English Fleet at Cadiz in 1625. n » Madonna and Child. » i St. ndefonso. And many chalk and Indian ink drawings.

CAXES, Patricio, (Caxesi, or Caxete,) was a native of Arezzo. It is not known by whom he was instructed, but he became an artist of sufficient celebrity to be invited to Spain by Philip II., who employed him in the palaces of Madrid. He was commanded to paint the gallery of the queen in the Palace of the Pardo, on which occasion he made choice of the very inappropriate subject of the 'Chastity of Joseph.' It was destroyed with many other valuable works of art in the burning of that palace. Patricio Cases, after serving Philip II. and Philip III. during forty-four years, died at Madrid in extreme poverty, at an advanced age, in 1612. The king being informed of the state of destitution in which he had left his widow and eight children, munificently assigned to them five- pence a day for one year I Caxes translated into Spanish Vignola's ' Five Orders of Architecture,' for which he engraved the frontispiece and plates.

CAYLINA, Paolo, the elder son of a Pietro Caylina. He is mentioned as a citizen of Brescia in 1458, in which yi;ar he appears at Pavia and painted an altar-piece for a church at Mortara (now at Turin). His name occurs in Brescian documents between 1459 and 1475, and he executed several paintings there, none of which hive sur- vived. In all probability he was a brother-in-law of Vincenzo Foppa. The only work by hiin at present known is the following : Turin Gallery, ' Madonna and Child with Saints ' ; signed and dated, Paulus Brisiensis, 1458.

CAYLINA, Paolo, the younger, probably a nephew of the above and the son of Bartolommeo Caylina, whose sister was the wife of Vincenzo Foppa. Paolo is spoken of in Brescian documents as the ne{)hew and heir of Foppa ; on the death of the master he succeeded to his house, the lease of which he renewed in his own name in 1523. He died after 1547. He is occasionally called Paolo Foppa, and is probably identical with a fresco painter who worked with Floriano Ferra- mola, and who is erroneously held to have been Paolo Zoppo. The works of Paolo Caylina have not as yet been identified, but in all probability he is the author of many of the frescoes at Brescia ascribed to Vincenzo Foppa the younger, of whose existence there is no proof. There were at Brescia in the sixteenth century several painters A'ho bore the name of Vincenzo, but none of them were connected with Vincenzo Foppa. It would therefore seem more in accordance with historical accuracy to cancel the name of the mythical Vincenzo Foppa the younger and to substitute for