Page:Cyclopedia of painters and paintings - Volume I.djvu/305

 *pecially in the expression of sorrow.—Waagen, Treasures, ii. 36.

Attributed to Guido Reni, Palazzo Barberini, Rome. Three-quarters face of touching beauty. Head enveloped in drapery, calm but sad expression, lips tremulous with suppressed emotion. If, as is probable, painted by Guido, it cannot be the portrait of Beatrice Cenci, as she was executed in September, 1599, and Guido did not paint at Rome until 1608. Furthermore, the picture is not mentioned in the Barberini Catalogues of 1604 or 1623, so that it was not in the Gallery until after the latter date. Engraved by Perfetti.—A. Bertolotti, Francesco Cenci e la sua famiglia; Edinburgh Review, Jan., 1879; Academy, March 18, 1878; Giornale di erudizione artistica (Perugia, 1876), v. 276.

Beatrice Cenci, attributed to Guido, Palazzo Barberini, Rome.

CENNINI, CENNINO DI DREA, born at Colle di Val d'Elsa. Florentine school; end of 14th and beginning of 15th century; disciple for twelve years of Agnolo Gaddi. As he was in Padua in 1398, it is not improbable that he left Florence after Agnolo's death (1396). His Virgin and Saints, a fresco in the Hospital of S. Giovanni Battista, Florence, has disappeared, but the frescos of scenes in the life of Christ, in the church of the Compagnia della Croce di Giorno, Volterra, dated 1410 and signed Cienni da Firenze, are generally assigned to Cennini. He is best known, however, as the author of Trattato della pittura, the oldest modern work on the technical processes of painting.—C. & C., Italy, i. 477; Vasari, ed. Mil., i. 643; Eastlake, Materials, etc., 71; Baldinucci, i. 308; Milanesi, Il libro dell' arte o trattato della pittura (Florence, 1859); Quellenschriften, i. 1; Preface to Mrs. Merrifield's translation of Cennini's Treatise (London, 1844); Lübke, Gesch. ital. Mal., i. 150.

CENTAUR FAMILY, ancient picture. See Zeuxis.

CENTAURS AND LAPITHS, BATTLE BETWEEN, ancient picture. See Micon.

CEPHALUS. See Bloemen, Norbert van.

CEPHALUS AND PROCRIS, Claude Lorrain, National Gallery, London; canvas, H. 3 ft. 4 in. × 4 ft. 5 in.; signed, dated Rome, 1645. Cephalus receiving from Procris the presents of Diana—the hound Lelaps and the fatal dart with which she was subsequently killed. Liber Veritatis, No. 91. Engraved by Browne, by Pye, and in Jones's National Gallery. Waagen doubts the genuineness of this picture.—Cat. Nat. Gal.; Waagen, Treasures, i. 341; Pattison, Claude Lorrain, 227.

By Guercino, Dresden Gallery; canvas, H. 6 ft. 7 in. × 8 ft. 3 in. Cephalus weeping over the dead body of Procris, whom he has accidentally slain with an arrow; above, a Cupid weeping; at right, two dogs. Painted in 1644 for Anne of Austria, Queen of France, who presented it to Cardinal Mazarin; passed on his death to the Prince de Carignan, from whose collection bought in 1744 for 4,000 livres. Engraved by L. S. Lempereur; Keyl.—Gal. Roy. de Dresde, ii. Pl. 22.

Subject treated also by Polidoro da Caravaggio, Vienna Museum.