PAINTERS AND ENGRAVERS.
which he painted were, * After the Battle,' ' Kath-
arine of Aragon and her Women at Work,' ' John
Hampden,' ' Her Most High, Noble, and Puiss.int
Grace,' 'Home after Victory,' 'Whither,' 'The
Olive,' and 'The Vine,' and other decorative works
executed for Mr. Aird. None of his pictures, how-
ever, attracted so much attention as the one now
called 'Renunciation,' and which, painted in 1891,
was bought by the Chantrey Trustees and is now
at the Tate Gallery. At first it bore the name of
J St. Elizabeth of Hungary,' and was intended to
illustrate an episode in her career, and the in-
accuracy of the historical knowledge displayed by
the artist, who had taken his idea from a poem by
Kingsley, aroused a vii,'orous discussion in the
'Times.' The writer of this article approached Mr.
Calderon many years afterwards when the picture
was to be hung in the Tate Gallery, and he met
the question of an aggrieved religious sentiment
which was concerned with the title in the frankest
manner, and gladly altered, with the consent of
the owners of the picture, the title to the one which
it now bears, and which does not reflect upon the
character of the saint, and makes the picture depict
merely an imaginary scene. G. C. Vf,
CALDWALL, James, an English designer and engraver, was born in London in 1739. He was instructed by Sherwin, and became an excellent draughtsman. His work is characterized by a brilliant technique, a feature especially remarkable in his portraits. By the dates on his prints he i known to have lived till 1789. Amongst his best productions are the following :
PORTRAITS. Sir Henry Oxeuden, Bart. Catharine, Couutess of Suffolk. Sir John Glynne, Chief Justice of the King's Bench. Sir Roger Curtis ; after ^f. Hamilton. Admiral Keppel. John Gillies, LL.D., historian. David Hume, historian. Mrs. Siddons and her Son. in the character of Isabella, after W. Hamilton. 17S3.
VARIOUS SUBJECTS. The Immortality of Garrick ; after Carter, the figures engraved by Caldicall, and the landscape by .S. iSniith 1783. The Fete ChampStre given by the Earl of Derby at the Oaks; after R. Adams, engraved by Caldxcall and Grignion. The Camp at Coxheath ; after W. Hamilton. 1773. His brother, John Caldwall, who died in 1819, painted miniatures in Scotland.
CALENSE, Cesare, according to Dominici, was a native of the province of Lecce, in the kingdom of Naples, and flourished about 1590. It is not said by whom he was instructed, but be achieved some reputation by a graceful manner, united with correct drawing and a knowledge of chiaroscuro. In the church of St. John the Baptist at Naples is a fine picture by this master of the ' Descent from the Cross,' with the Marys, St, John, and other figures, full of feeling and expression, and signed with his name.
CALETTI, Giuseppe, called II Cbemonese, was a painter born at Ferrara about the year 1600. He first applied himself to study the works of Dosso Dossi, but he afterwards became an imi- tator of Titian, particularly in his Bacchanalian subjects. In these specimens of Caletti's art the figures are generally smaller than life. He ap- proached so near to the glowing tones of that master, that Baruflaldi reports that he had seen many of his pictures in the galleries of the nobility at Bologna which were believed to be the works of Titian, and he is said to have been able to counterfeit a certain patina which time gives to painting, and which improves its harmony. His deceptions were, however, frequently discovered by his inattention to costume, and the introduction of the most absurd improbabilities. In the midst of his Bacchanalian subjects it was not unusual for him to introduce a modern gambol, or a hunting incident; and, as it is sarcastically observed by Lanzi, " he placed wild boars in the sea, and dolphins in the forests." He has, however, proved himself to have been capable of nobler ideas by his picture of the ' Four Doctors of the Church,' and his still more admired production of the ' Miracle of St. Mark,' both in the church of San Benedetto at Ferrara. This last-mentioned woik is described as designed with correctness and grandeur, and full of fine ex- pression. His death occurred about 1660. He is known also as the engraver of some twenty-four plates now scarce. They are characterized by a peculiar manner of treatment, consisting of the employment of bold parallel strokes without any cross-hatching. Some of them are marked with the letters J. C. F. Amongst the more important of them may be mentioned :
David, whole-length, with the head of Goliath. David, half-length, with the same. Samson and Delilah ; very fine. The Beheading of St. John. St. Roch kneehng. Portraits of the Dukes of Ferrara.
CALIARI, Benedetto, was the brother of Paolo Veronese, and assistant to him in painting. After Paolo's death, he, in conjunction with his two nephews, Gabriele and Carletto, carried on a sort of firm for the sale of pictures from Veronese's designs, or in his style. Many works attributed to him were doubtless executed by them. They signed collectively as 'Paolo's heirs.' Benedetto died in 1598.
CALIARI, Cari.etto, the youngest son of Paolo Veronese, was born in 1570, and died in 1596. He was educated by his father as a painter, and showed great ability ; but dying at the early age of 26, his powers had not full time for development. His name is attached to several large pictures of banquets in Veronese's style.
CALIARI, Gabriele, the eldest son of Paolo Veronese, was born in 1568, and died of the plague in 1631. He painted a few pictures, but had not the same talent as his younger brother, and devoted himself chiefly to commerce.
CALIARI, Padlo, (or Caqliari,) commonly called Paolo Veronese, was born (as his coonomcn indicates) at Verona in 1528. He was the son of a sculptor named Gabriele Caliari, and was at first educated by his father in his own branch of art. Paolo's taste, however, led him more towards painting, and his father, seeing this, sent him to study in the workshop of Antonio Badile, a Veronese painter of some reputation, by whom several authentic works still remain. The school of Verona had, even in the 15th century, risen into notice, and at the beginning of the 16th it included many masters of note. In Caliari the school may be said to have culminated and ended. Among Paolo's earliest works may be mentioned a ' Madonna and Child with Saints arid donor,' now in the Gpllery at Verona; a 'St. Anthony'
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