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CAV CAVARAZZI,, called. This painter was born at Viterbo about 1590, was a pupil of Cavaliere Roncalli, called Pomarancio. He was subsequently taken under the patronage of the noble family of the Crescenzi, from whom he derived his sobriquet. He painted many pictures for his patron, and for the churches of Rome. He possessed, according to Lanzi, "a captivating and natural style." He painted a St. Anna in the church of that saint "in his best taste, and with a vigorous pencil," writes Baglione. In the church of St. Orsola there is a remarkable work of Caravazzi's, representing the saint with the famous legend of the eleven thousand virgins. He died at Rome in 1625.—W. T.  CAVE,, a printer, born at Newton in Warwickshire in 1691. His father followed at Rugby the trade of a shoemaker, and was supported by his son in the latter part of his life. Edward was educated at Rugby school under the Rev. Mr. Holyock, who was so greatly pleased with his progress as to recommend him as a servitor to some of his wealthy scholars, and to resolve to prepare him for the university. Being unjustly charged with a petty theft, however, Cave lost the favour of his master, and was at length compelled to leave the school, and abandon all hope of a literary education. He then entered the service of a collector of excise, but being harshly treated by his employer's wife, he proceeded to London in search of work, was for a short time in the employment of a timber merchant, and then became apprentice to Mr. Collins, a printer of some note. In this new situation he commended himself so much to his master by his skill and ability, in the course of two years, as to be sent to Norwich to conduct a printing-office, and publish a weekly paper. His master dying before the end of his apprenticeship, he left the house and married. At this time he worked as a journeyman in the printing-office of Mr. Barber, and wrote in Mist's Journal. He corrected the Gradus ad Parnassum, and was liberally remunerated by the company of stationers. He also wrote "An Account of the Criminals," and published many pamphlets. He had obtained a place in the post-office, which did not occupy all his time, and afterwards became clerk of the franks, a situation in which he acted with great firmness—frequently stopping franks given by members of parliament to their friends. This procedure, however, led to his citation before the house for a breach of privilege. He was accused of opening letters. By pleading his oath of secrecy he was dismissed. Having purchased a small printing-office, he began the Gentleman's Magazine, a periodical that has been continued with remarkable success till the present day, and by means of which he amassed a considerable fortune. After his wife's death in 1751, he lost his sleep and appetite, and fell into a bad state of health, from which he never recovered. He died January 10, 1754, after the completion of the Magazine's twenty-third year. Cave is described as a man of large stature and great strength. In his latter years he was much afflicted with the gout. His mental faculties were slender, narrow, and slow; but his memory was tenacious, and his disposition calm. His chief claim to notice is his having commenced, by a new species of publication, an important epoch in the literary history of Great Britain. His life has been written by Dr. Johnson, who, in the earlier part of his career in London, was liberally befriended by the printer.—S. D.  CAVE,, a theologian of great learning, was born at Pickwell in Leicestershire on the 30th of December, 1637. In May, 1653, he was admitted into St. John's college, Cambridge, took his B.A. degree in 1656, and his M.A. in 1660. In 1662 he was presented to the vicarage of Islington. After taking the degree of D.D. in 1672, he was presented to the rectory of Allhallows the Great, London, in 1679. In 1684 he became canon of Windsor, and in 1690 vicar of Isleworth in Middlesex, having previously resigned the rectory of Allhallows, and soon after the vicarage of Islington. His death took place in 1713; and his body was interred in Islington church, where a monument has been erected to his memory. For some time he had been chaplain to Charles II. The life of Dr. Cave seems to have been that of a studious man, who took comparatively little interest in public affairs, because he was so much occupied with books, and his own publications. His principal works are—1. "Primitive Christianity, or the religion of the ancient christians in the first ages of the gospel," London, 1672. This has been several times reprinted. 2. "Tabulæ Ecclesiasticæ, tables of the ecclesiastical writers," London, 1674; reprinted at Hamburg in 1676 without his knowledge. 3. "Antiquitates Apostolicæ, or the history of the lives, acts, and martyrdoms of the holy apostles of our Saviour, and the two evangelists, St. Mark and St. Luke. To which is added, an introductory discourse concerning the three great dispensations of the church, patriarchal, mosaical, and evangelical; being a continuation of Antiquitates Christianæ, or the life and death of holy Jesus," written by Jeremy Taylor: London, 1676, folio. 4. "Apostolici, or the history of the lives, acts, deaths, and martyrdoms of those who were contemporaries with, or immediately succeeded the apostles; as also of the most eminent of the primitive fathers for the first three hundred years. To which is added, a chronology of the first three ages of the church," London, 1677, folio. 5. "A Dissertation concerning the government of the ancient church by bishops, metropolitans, and patriarchs; more particularly concerning the ancient power and jurisdiction of the bishops of Rome, and the encroachments of that upon the other sees, especially the see of Constantinople," London, 1683, 8vo. 6. "Ecclesiastici, or the history of the lives, acts, deaths, and writings of the most eminent fathers of the church that flourished in the fourth century," London, 1682, folio. 7. "Chartophylax Ecclesiasticus," London, 1685, 8 vo. 8. "Scriptorum Ecclesiasticorum Historia Literaria," i.e., a literary history of ecclesiastical writers, in two parts, folio, the first printed at London, 1688, and the second in 1698. The best known of these works are 1, 3, 4, and 8, especially the last, which is by far the most valuable of all. The rest have been superseded by modern works, which in many instances give better and more correct information on the topics discussed. But the "Historia Literaria" is still indispensable to the scholar, and will perpetuate the name of the author. It was reprinted at Geneva in 1705 and 1 720; but the best edition is that which was printed at Oxford by subscription, in two vols., folio, 1740-43. This contains the author's last amendments and additions, with some contributions by others. It was principally superintended during the printing by Dr. Daniel Waterland.—S. D.  CAVEDONE, : this master was born at Sassuolo in the Modenese in 1577, and died in 1660. The inconsiderate severity of his father drives him at a very early age into the world to earn independent bread. He enters the service of a nobleman, a lover of art, and a collector of pictures. The patron exhibits his page's drawings, and introduces him to Annibale Carracci, who encourages the young beginner, and lends him drawings to copy. The student prospers, and soon is received into the school of the master. Formally apprenticed to art, he works assiduously and progresses wonderfully. After some time he proceeds to Venice and carefully examines the works of Titian. He seeks to dive into the secret of their delicious colour. From day to day he subjects them to his piercing perusal, and he comes away victorious. He paints afterwards in a blended manner derived from Carracci and Titian. At Bologna his works were esteemed as equal to the productions of Carracci; and Albano, asked by a stranger if there were any Titians at Bologna, replied—"No, but there are two works by Cavedone in St. Paolo, which are as good." It is even recorded that Rubens, Velasquez, and Michelangelo Colonna supposed Cavedone's "Visitation of the Virgin" in the king of Spain's chapel, to be the work of Annibale Carracci. He painted for the churches of Bologna both in oil and fresco. His manner in the latter mode of art was so felicitous that Guido adopted him as a model. He possessed an extraordinary facility and extreme rapidity of execution; yet never—for he was a true artist—condescended to be negligent, or upheld want of finish, or conceived coarseness to be good effect. He was correct in drawing, and especially careful of his hands and feet—a good sign. He favoured simple attitudes and gentle expression: length of proportions, a compendious method of treating the hair and beard, a graceful and rapid touch, and a rectilinear folding of his draperies, characterize the manner of Cavedone. He rose to the highest eminence in his art; he then tottered, fell, and ended miserably. Troubles gathered thickly round him. His wife was charged with witchcraft, and the foolish, foul accusation preyed upon his mind. His only son, a youth of great promise, fell sick and died. Illness came also upon him; a scaffolding badly constructed, falling, nearly crushed him. His was a nervous anxious temperament, easily disorganized. The canker of disease formed in his mind, and palsied his hand. Imbecility and poverty came next, and then death. He left many important works, which are rightly prized as gems, even in such a diamond mine as 