Page:Bryan's dictionary of painters and engravers, volume 1.djvu/422

 CECCHINO DE' SALVIATI. See De' Rossi, BRANCESCO.

CECCO, Gbegorio di, of Lucca, was the adopted son and heir of Taddeo Bartoli, his name first appearing on the roll of the Sienese Guild in 1389. He seems to have assisted his adopted father in some of liis pictures, for there formerly hung in the Marescotti Chapel of Sant' Agostino at Siena a picture that was signed taddevs ET GREGORIVS DE SENIS PINXERVNT. M.C.C.C.C.X.X. He is also known to have painted in 138i the boards of the Biccherna at Siena. The dates of his birth and death are unlike uncertain. In the cathedral at Siena there is a picture by him of ' The Virgin and Child, with Seraphs and Angels,' signed and dated 1423.

CECCO BRAVO, II. See Montelatici.

CECCO DI PIETRO lived at Pisa in the 14th cen- tury, and according to Ciarapi painted in the Carapo Santo in 1370, in company with five other artists. He was one of the people's representatives in 1380, and in 1386 he painted a ' Nativity of the Virgin ' for the church of Sau Pietro in Vincolo at Pisa, which is now lost. There is a ' Crucifixion, be- tween the Virgin and Saints,' by him, to be seen in the Pisa Gallery.

CECIL, Thomas, was an English engraver, who flourished about the year 1630. His plates are not without considerable merit, neatly executed, entirely with the graver, and chiefly consist of portraits. Amongst them are :

Queen Elizabeth on Horseback. Walter Curie, Bishop of M'iuchester. AVilliani Cecil, Lord Bnrgbley. Edward Reynolds, Bishop of Korwicli. Thomas Kidderminster of Laugley. 162S. John Talbot, Earl of Shrewsbury.

Sir John Burgh, killed at the Isle tie Khi5 ; tliis print is very scarce, as it is thought the plate was altered, and the name changed for that of Gustavus Adolphus, and inserted in Scudery's ' Curia Politia.' John AVeaver; prefixed to his 'Funeral Monuments.' 1631. Archee, the King's Jester ; a small whole-length. Sir John Hayward, Knt., LL.D. The Frontispiece to Ambrose Parry's Works. 1634. The Frontispiece to Devout Meditations. 1629. The Frontispiece to Lord Bacon's Sylva Syitarum. 1627.

CEDASPE. See C^spedes.

CELENTANO, Bernardo, an artist possessed of much skill in the delineation of character and expression, was born at Naples in 1835. Two of his paintings quoted are, ' Tasso exnibiting the first Signs of Madness,' and 'The Council of Ten.' He studied at Rome, and died in 1800.

CELER6, Zacharie, was a French landscape painter, who flourished at Amiens in 1551, and designed the triumphal arches erected on the occasion of the entry of Henry II. In 1560 lie was condemned for having taken a view of the city of Amiens and its fortifications.

CELESTI, Cavaliere Andrea, was a painter born at Venice in 1637. He was a pupil, though not an imitator, of Matteo Ponzone. To a fertile imagination he added a vagueness of style, and a flowing outline resembling that of Paolo Veronese. His colouring is clear, brilliant, and tender, but in some cases, from defective priming of his can- vas, his pictures have lost something of their original freshness, and in the half-tints appear to have in some degree perished, from which circum- stance the harmony of the effect is somewhat diminished. He painted historical subjects, both in large and in easel pictures, and sometimes conversations and pastoral subjects. His principal historical works are in the church of the Ascension at Venice, the best being ' The Adoration of the Magi.' The ducal palace possesses a picture of a subject taken from the Old 'Testament that is highly esteemed. He died at Venice in 1706. Other works by him are in the under-mentioned galleries: Cassel. Gallery. The Illness of Autiochus Soter. Dresden. Gallery. The Murder of the Innocents. Worship of the Golden Calf. ,, „ Bacchus and Ceres. Munich. Pinakothek. The Magdalen washing the feet of Christ.

CELIO, Cavaliere Gasparo, was a painter born at Rome in 1571, and who died there in 1640. According to Baglione, he was the pupil of Niccolo Circignani, called Pomarancio. Of his works there are cited Kome. S. Giovanni 1 St. Michael discomfiting the in Laterano. Kebel Angels. „ S. Carlo ai 1 gt. Charles Borromeo. Catmai-.. } „ Mendicanti. St. Francis receiving the Stig- mata. „ Palazzo Mattel. Moses passing the Red Sea.

CELLIER, Celestin, a French historical and portrait-painter, was born at Valenciennes in 1745, and became a pupil of Groot. The Museum of his native city has a picture representing ' Valenciennes protecting the Arts,' but the greater part of his worlis perished in the time of the first French Revolution. He died at Valenciennes in 1793.

CELLIER, Francois Placide, the son and pupil of Celestin Collier, was born at Valenciennes in 1768, and possessed considerable talent, but upon inheriting a fortune at the death of his father he abandoned art as a profession. His pictures of 'Meleager saving Atalanta,' and an 'Idyll,' are in the Museum of his native city. He died in 1849.

CELLONY, Joseph, a French portrait-painter, was born at Aix in 1663, and died there in 1731. His son, Joseph Andb6 Cellony, was born at Aix in 1696, and was a pupil of his father and of Rigaud. He worked with his father, whom he surpassed in portraiture, and died at Aix in 1746, leaving a son, Joseph Cellony, who painted historical sub- jects. He was born at Aix in 1730, studied under Andre-Bardon, and died in 1786.

CELS, Cornelis, a painter of portraits and his- torical subjects, was born at Lierre in Brabant in 1778. He studied under A. Lens at Brussels, and then visited Paris and Italy, where he became a professor of the Academy of St. Luke. He went to Antwerp in 1807, and was appointed in 1820 to the professorship of drawing at Tournai, a post which he resigned in 1827. He subsequently settled at Brussels, where he resided till his death in 1859. His views were originally directed towards the antique, as may be seen from a study of his ' Cin- cinnatus' at Ghent, but he subsequently took the Pre-Raphaelites as his model, and in this style painted the ' Descent from the Cross,' for the high altar of St. Paul's at Antwerp, a picture in which the drawing is bold and fine, but tlie colouring cold, and the shadows too dark. ' The Baptism of St. Catharine,' painted in 1809, and now in the cathedral at Bruges, is a Fpecimen of his earlier manner. His portraits were held in some estima- tion. In the Rotterdam Museum is a ' Portrait of Gysbert Karel, Count of Hogendorp.'

CENNINI, Cennino, whose full name was Cen-