PAINTERS AND ENGRAVERS.
CASTELLI FAMILY (of Bergamo).
GioTaoDl Battiste fll Bergamasco).
(15t>&— 1379.1
Niccoli Granello.
<Probably step-son.)
( ? —1503.)
Fabrizio.
( ? -1617.)
Felice.
(1602—1650.)
CASTELLI FAMILY (of Genoa). Giovanni Battist&, (l»tr— 1637.) Bernardo. (1057—1629.1 Valerlo. (1625—1039.)
CASTELLI. Annibale, was a native of Bologna, who flourislied about the year 1605. He was a scholar of Pietro FacCini, and by imitating liis manner, he fell into the same defect that is dis- cernible in the works of that master. By loading and tormenting his carnations, he disturbed his out- line, and his figures became heavy and incorrect. His best work is the ' Raising of Lazarus,' in the church of San Paolo, at Bologna.
CASTELLI, Bernaedo. See Gastello.
CASTELLI, Cbistofano. See Caselli.
CASTELLI, Fabrizio. See Castello.
CASTELLI, Felice. See Castello.
CASTELLI, Giovanni Battista. See Castello.
CASTELLI, Valeric. See Castello.
CASTELLINI, Raffaelle, was director of the Mosaic School at the Vatican, and executed the splendid mosaics of ' The Sibyl of Cum»,' after Domenichino, and 'St. John the Baptist,' after Guercino. He died at Rome in 1864.
CASTELLO, A vanzino da Citta di. See A vanzino.
CASTELLO, Bernardo, (or Castelli,) was a Genoese painter, born in 1557. He was a scholar of Andrea Semini, and an imitator of Luca Cambiaso. In endeavouring to acquire the facility of the latter, he fell into all his defects, and abandoned nature for manner and despatch. An able designer, his works would have approached nearer to perfection if he had taken the trouble of studying them. He was copious and ready in invention, because his judgment was not difficult to satisfy. He lived in habits of intimacy with the principal poets of his time, and made the designs for Tasso's 'Jerusalem Delivered,' which were engraved by Agostino Carracci. He died in 1629. He was also an eminent miniaturist ; and is praised by Marino, the poet, for the skill and accuracy of his representations of various insects.
Genoa. S. Francesco. S. Ciro. Capuchins. Borne. 5. Peter's. St. James and St. Jerome. Christ disputing with the Doctors. St. Francis receiving the Stigmata. Crucifixion. St. Anthony of Padua. St. Clara. St. Peter walking on the Sea.
CASTELLO, Castellino, was bom at Turin in 1579, and was the pupil of Giovanni Battista Paggi, under whom he acquired a correct and elegant style of design. His picture of the 'Descent of the Holy Ghost,' in the church of the Spirito Santo at Genoa, gained him a great reputation. He was also a very eminent portrait-painter, and, ac- cording to Lanzi, when Van Dyck visited Genoa, he particularly admired the style of Castello, and they reciprocally painted each other's portraits. He was related to Bernardo and Valerio Castello, and died in 1649.
CASTELLO, Fabrizio, (or Castelli,) was the son of II Bergamasco, and employed by Philip II., in conjunction with other painters, to decorate parts of the EscoriaL One of the subjects on which they were employed was the victory gained by John II. over the Moors of Granada ; it was copied from a painting by Dello on a canvas 130 feet in length, which was found in an armoire of the Alcazar at Segovia, and is a most curious com- position. He also painted at the Pardo, where he executed several frescoes ; and he coloured forty- eight busts of Saints sculptured by Juan de Arfe for the Escorial. He was considered to be an artist of great talent. He died at Madrid in 1617.
CASTELLO, Felice, (or Castelli.) a Spanish historical painter, was born at Madrid in 1602. Receiving his first instruction in art from his father, Fabrizio Castello, he afterwards became a pupil of Vicente Carducho, whose style he sought to imitate, producing some works of merit, although not equal to those of his master. The Madrid Gallery has two excellent paintings by him, ' The Disembarcation of General Don Fadrique de Toledo in the Bay of San Salvador,' and ' Spanish Soldiers under the command of Don Baltasar de Alfaro swimming to attack the Dutch.' Carducho was so pleased with the composition of these pictures that he requested permission to paint the head of Don Fadrique in the first. Castello died at Madrid in 1656.
CASTELLO, Francisco de, was born in Flanders, of Spanish parentage, in 1556. He visited Rome, for the purpose of stud}-, when quite young, during the pontificate of Gregory XIII. He painted historical pictures, generally small in size, which were much sought after. He also executed some pictures for the churches at Rome. In the church of San Giacomo degli Spagnuoli is an altarpiece of the 'Assumption of the Virgin,' with a Glory of Angels, and the Apostles below ; and in that of San Rocco di Ripetta is a picture of the ' Madonna and Child, with SS. Nicholas and Julian.' He died at Rome in 1636.
CASTELLO, Giovanni Battista, (or Castelli,) called II Bergamasco, was born at Gandino, in the Valle Seriana, in the Bergamese, in 1509. He was called II Bergamasco to distinguish him from the Genoese painter of the same name, who excelled in miniature. When he was young he was entrusted to the care of Aurelio Basso, of Crema, a scholar of Polidoro da Caravaggio, by whom he was taught the first principles of the art. That painter took him with him to Genoa, and after some time left him in that city, unprotected and abandoned, but considerably advanced by his studies after the best masters of that school. He had the good fortune to attract the attention of a Genoese nobleman, Tobia Pallavicino, who took him under his protection, and sent him to Rome to study the works of the great masters, and supported him until he arrived at great proficiency in painting, sculpture, and architecture. On his return to Genoa, he first exhibited his talents in decorating the palace of his protector, and in painting soma frescoes in the church of San Marcellino. In the monastery of San Sebastiano is his justly celebrated picture of the Martyrdom of that Saint, by which he acquired great reputation. Whilst he was in full possession of the public favour, Luca Cambiaso returned to Genoa, after completing his studies at Florence and at Rome, when an honourable and laudable emulation seems to have taken place between these artists, and to have been advantageous to both. They were tocether employed by the Duke Gri-
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