Page:The New International Encyclopædia 1st ed. v. 04.djvu/342

* CASSOWARY. 292 CASTALIO. on the ground. The bony crest or helmet reaches from the base of the bill to the middle of the crown, and is about .3 inches high, exhibiting the most intense blue, purple, and scarlet, blend- ed together. When attacked it dt'fends itself by kicking obliquely backward with its stout, naked legs and feet, and by striking with its sliort wings, the rigid, barhless shafts of which, although useless even to aid in its running, are not without value as weapons. There are only about five of them in each wing, somewhat re- sembling the quills of a porcupine, and at the end of the last joint of the wing there is a spur. The cassowary lays a few eggs, which are rough, greenish, and are incubated by the cock. Its flesh is black, tough, and juiceless. The cassowary is not infreqientlv to be seen in menageries in Europe, but is becoming more rare in its native regions, in which it is some- times kept tame. Not much is known of the habits of any of these birds, which dwell in deep forests and are vegetable-eaters. They are frequently tamed by the natives and breed read- ily in confinement. Their skin and feathers are widely used in clothing and oi-nament ; their bones point spears ; and their flesh, though tough and dark, is eaten. The fullest account of the genus is that by Salvadori, in his great Italian work on the ornithology of the Papuan region. One species, having an excessively large helmet {Casuarius Aitntrulis), occurs in northern Aus- tralia. Another {Casttarius Bennetti) , peculiar to New Britain, is known as 'moonip' (not 'raooruk,' as usually spelled). See Plate of Cas- SOWAKIK.S. ETC. CASSOWARY-TREE. See Casuarina. CAS'STJMTCT'NAR. See Ginger. CAST (Icel., Swed. kasta, Dan. kaste, to throw). A work of art produced by a mold. A method of reproducing a work of sculp- tured art by means of molding. The work is first modeled by hand, then covered with plas- ter so applied that it may be removed in sec- tions when dry, thus forming a kind of shell to the sculptured form beneath. These sections are put together and form the mold, which is filled with liquid plaster, the interior of the shell being so lubricated as to prevent the plas- ter from adhering to the casing. When this interior plaster is hardened, the case is again removed, and the rejjroduetion of the original appears. The first mold is made over the modeled clay figure or group of figures fresh from the sculptor's hand. As the clay is perishable, it is necessary to imitate the orig- inal, and from the plaster, which is more dur- able, a number of replicas may be made. Even though the mold should be broken, another can now he taken from one of the plaster figures. Many of the masterpieces of antiquity are thus repeated, and they suj)ply museums and schools of art as models for study. When a figure or group is cast in bronze, it is more properly called founding (q.v.). Casting has been in use from early tinu's, and was employed by the ancients for multiplying their statues. CASTAGNO, kas-tli'nyo. Anukka dki. ic.l.'ini!- l-l.iT I. A I'lonntine painter of the Renaissance. He was liorn at t'astagno, a village in the ilu gello district, near Florence, the son of a laborer and small landed proprietor. .Mthough the name of his teacher is not recorded, he was at least influenced by Paolo Vecello, and perhaps, like the rest of the Realist school to which he be- longed. l)y Donatello. His drawing is l)old and firiM. bis color bright and crude, and the ini- ]n-ession gained from liis works is one of strengtli and power. His principal surviving works are a fine series of four frescoes from the life of Christ and nine figures in Sant' .pollonia. Flor- ence, the ecpiestrian jiortrait of Niccolo da To- lentino (It.iti) in the Cathedral, and a "Cruci- fixion" in Santa .Maria Xovella. The story, due to Vasari, that he nuirdered Domenico Veneziano to steal his secret of oil painting has long been proved a nyth by the fact that his associate survived him seeral years. C'astagno died in Florence August in, 1457. CASTAIGNE, ka'stftn', ANDRfi (1861—). A French artist, best known as an illustrator. He was born at AngoulOme, and studied in Paris at the Suisse Academy (1878-80), and later at the Beau.x-.Arts as a pupil of GerOme and Cabanel. Among his notable pictures at the Sahm, where he first exhibited in 1884, were a "Portrait of the Vicomte de Dampierre" (1888), and "After the Combat" (18!)<l; Peabody Gallerj-, Balti- more). In 1890 he went to Baltimore as director and instructor of the Charcoal Club, an art school of that city. His first illustrations were Western .scenes executed for the Ccniurt) Maga- zine in 1891. He returned to France in 1894, and became an instructor in the Colorossi Acad- emy, Paris. He works with almost equal facil- ity in oils, water-color, charcoal, and pen and ink. His full-light elTects were uniqiie in Amer- ican illustrations, and his peculiar fineness of touch defied the skilled engraver. His illustra- tive work has dealt much with American sub- jects, such as Texas cowboy life and the Colum- bian Exposition. His series of pictures for B. I. Wheeler's Life of Alexander the Oreat (New York. IHOO) is also to be mentioned, CASTA'LIA (Lat., Gk. Kaa-ToWa, Kastalia, probably connw-ted with Lat. castas, Gk. Ka0np6t katharos, Skt. iiitJdha, pure). A foimtain sacred to Apollo and the Muses, situated on the slope of Parna'^sus, in the cleft between the great din's of the Pha^driada*, near Deliibi. in Phocis. It was the 'holy water' of the Delphian temple, and all who came to consult the oracle were required to bathe, or at least to wa.sh the hair, in its water. The Roman poets feigned that its waters filled the mind of those who drank of it with poetic inspiration. The foun- tain, whose w-aters are still pure and delight- ful, now bears the name of Saint-.John. CASTALIDES, kas-tnl'I dez. A munv of the Muses, from the Castalian spring on Jlount Par- nassus, wliii'h was sacred to them. CASTALIO, kas ta'ly,',. CASTELLIO, kSs- tel'yo, or CASTELLION, Seuastiax (lol5-ii3). H French Protestant theologian, born at Saint Martin du Fresne. a Savoy village, near Geneva. He received a thorough humanistic training, and about 1,540 went to Strassburg, where he was befriended by Calvin, who, on his return to Geneva in 1,541, appointed him rector of the high school and preacher. But, differing from Calvin on what were considered important points, he was compelled to resign in 1.544, and went to Basel, where he lived in great poverty, as he had