Page:Dictionary of National Biography volume 09.djvu/262

 The transcript was found with other family papers which came into the possession of Mr. C. W. Dilke and were presented to the British Museum by his grandson, Sir C. W. Dilke, in 1870 and 1871 (the volume containing Pope's letters is numbered Additional MS. 28618). The Sussex squire's copies were published for the first time in Mr. Elwin's ‘Pope.’

Caryll passed nearly the whole of his long life upon his estates, happy in his marriage of more than fifty years with Elizabeth, daughter of John Harrington of Ore Place, Sussex. He died in April 1736. His lands passed to his grandson of the same name, who sold the West Grinstead estate about 1745 and that at West Harting in 1767. Lady Holt House was pulled down before 1770.

 CARYSFORT, (1780–1855). [.]

CASALI, ANDREA (1720?–1783?), painter, a native of Cività Vecchia, was born about 1720 (or 1724). He received his early art education at Rome under the painter Sebastiano Conca, and painted several pictures for churches in that city. At the end of 1748 he was employed to paint the transparencies which formed part of the decorations set up in St. James's Park to celebrate the peace of Aix-la-Chapelle (signed 7 Oct. 1748). These were afterwards engraved by Grignion, Scotin, and others. After the great fire at Fonthill Abbey he was employed by Mr. Beckford to paint the ceiling of the Egyptian Hall in the new building. About 1758, when the church of St. Margaret, Westminster, was repaired, he painted two figures of St. Peter and St. Paul for the altar. He also painted a picture of the ‘Adoration of the Magi’ as an altar-piece for the chapel of the Foundling Hospital; this, however, was afterwards removed to make way for an altar-piece by Benjamin West. In 1760 the Society of Arts awarded to him the second premium of fifty guineas for his picture representing the story of ‘Gunhilda, empress of Germany.’ In 1761, however, he gained from the same society the first premium of a hundred guineas for his picture of ‘Edward the Martyr stabbed by the directions of his mother Elfrida.’ About this year he received the distinction of knighthood in his own country, since he is always described subsequently as ‘Chevalier’ Casali. From this year onwards he was a constant exhibitor at the London exhibitions. About 1769 he seems to have returned to Rome, but continued to exhibit in London until 1783, after which year we have no further trace of him. His pictures are chiefly historical, though he painted sacred and classical subjects as well. Cleverly painted and carefully executed, they are too theatrical in composition, and frequently tawdry in colour. Among his principal works, besides those already named, were: ‘Lucretia bewailing her Fate,’ engraved by Ravenet and by himself; ‘Jupiter and Antiope,’ engraved by Chambars; ‘Children at Play,’ two pictures engraved in mezzotint by J. G. Haid; ‘The Adoration of the Magi’ (mentioned above), engraved by R. Laurie. He did several etchings from his own pictures, and also one of ‘The Virgin and Child,’ after Raphael.

 CASANOVA, FRANCIS (1727–1805), battle painter, was descended from an ancient Spanish family, for some generations conspicuous in the annals of gallantry and intrigue. He was the second son of Gaetano Giuseppe Giacomo Casanova, who had quitted his family for love of an actress, adopted the stage as a profession, and espoused Zanetta, daughter of Jeronimo Farusi, a cobbler. The eldest son was Giacomo Girolamo, the famous adventurer, better known as ‘Casanova de Seingalt;’ the second was Francesco; and the third, Giovanni Battista, also became an artist, was a pupil of Raphael Mengs, and afterwards professor and director of the academy at Dresden. Francesco Casanova was born in London in 1727, where his parents were then fulfilling a theatrical engagement. He returned with his family when quite young to Venice, and, his father dying prematurely, he was placed with his brothers in the care of the Grimani family, under whom he received an excellent education. He early showed a taste for art and architecture, and first studied under Guardi, and under Francesco Simonini, the battle painter, taking his chief instruction from the works of Jacques Courtois, ‘Bourguignon,’ whose style he adopted throughout. In the spring of 1751 he went at his elder brother's suggestion to Paris, 