A BIOGRAPHICAL DICTIONARY OF
assigned to him with every probability of truth.
According to Vasari the whole series of the History
of the Virgin, and of Jesus Christ, together with
the eight historical subjects from the Old Testament, were all painted by Cimabue ; but modem
writers find in these paintings the work of many
different hands. In this church, which seems to
have been a sort of training ground for most of
the artists of that time, we may see the progress
that Italian art had just begun to make, tracing
the development from Giunto Pisano to Cimabue,
and from Cimabue to Giotto.
Vasari speaks of Cimabue having painted a small picture of St. Francis " from nature," not meaning from St. Francis himself, who had long been dead, but from the living model, "which was a new thing in those times." This likeness still exists in the church of Santa Croce, but its authenticity is rendered doubtful by its being placed amoi:gst other works that are attributed to Cimabue without any reason- able foundation. Cimabue probably died in 1302, in which year, according to Ciampi, he was engaged upon a mosaic in the Duomo of Pisa, which he left unfinished. He was bnried in the church of Santa Maria del Fiore in Florence, and the following epitaph was afterwards composed upon him by one of the Nini :
" Credidit ut Cimabos picture castra tenere. Sic teuuit, vivens ; nunc tenet astra poli." This probably was written in allusion to the well- known lines in Dante's 'Purgatoria,' and not as Vasari puts it.
Some critics question as to whether works attri- buted to Cimabue should not rather be given to Duccio the Sienese artist, and say there has been some confusion between the histories of these two men, but there is every probability that the old Tuscan school before Giotto was very similar in the two cities.
Bibliography : Vasari, ' Vite de' piu eccellenti Pittori, &c.,' Crowe and Cavalcaselle ; P. Angeli, ' Storia della Basilica d'Assisi ' ; and ' Painters of Florence,' Mrs. Ady, 1900.
CIMAROLI, GiAMBATTiSTA, a Venetian landscape painter, who was born at Salo on the lake of Garda, flourished from 1718 to 1733. He was a pupil of Antonio Calza, and it is conjectured that Zuccarelli may have taken lessons from him, as his early pic- tures have some resemblance to those of Cimaroli, but with less warmth. The cattle and figures introduced are of the same character. His pictures are not uncommon in England, though his name and works are confounded with those of the Cignaroli.
CIMATORI, Antonio, called II Visacci, an Italian historical painter, was a native of Urbino. He flourished in the 16th century, and excelled in chiaroscuro and in pen-and-ink drawings. ClilON, an early Greek monochromist of Cleonae, appears to liave flourished in the latter i)art of the 9th century B.C., but his date cannot be determined with any certainty. He seems to have been the first to attempt to place tlie figure in different attitudes, so as to display the joints, the veins of the body, and the drapery. He may therefore be considered the first painter of perspective.
CINCINNATO, Diego Romulo, and Francisco RoMULO, were the sons and pupils of Romolo Cin- cinnato. Diego was sent to Rome by Philip IV., where he painted for that monarch the portrait of Urban VIII., by whom he was knighted, and pre- sented with a gold medal and chain. He was principally engaged, as was his brother Francisco, in painting portraits. Diego died at Rome in 1625, and Francisco in the same city in 1635.
CINCINNATO, RoMOLO, a Florentine painter, who was born at Florence in 1502, and was a pupil of Francesco Salviati. In 1567 he was invited by Philip II. to Spain, where he passed the greater part of his life. He was employed in the Escorial, where he painted in fresco a part of the great cloister, and in the church two pictures representing ' St. Jerome reading,' and the same saint preaching to hie disciples ; as well as two subjects from the life of St. Lawrence. For the church of the Jesuits at Cuen^a, he painted in 1572 — 3 his most esteemed work, the ' Circumcision,' now in the Academy of St. Ferdinand at Madrid. He also painted some mythological subjects in fresco, iu the palace of the Duke of Inf antado. at Guadalajara. Other works by liim are in the Academy of Madrid, viz.: — 'The Transfiguration' after Raphael, in oil; two pictures of ' St. Peter ' and ' St. Paul ' ; and a fresco painting of ' St. Lawrence.' He died at an advanced age in 1600.
CINERICIUS, Philippus, is the name of an en- graver by whom there are two small plates repre- senting St. Dominic and St. Peter Martyr, dated 1516. He appears to have been a monk of the Dominican order, and was probably of German origin, the name Cinericius being the Latin equiva- lent of Ascher. The style of his engravings is entirely that of the Italian school of the com- mencement of the 16th century. See Passavant's ' Peintre-Graveur,' v. 228.
CIONE, Andrea di, who was born at Florence in 1308 (?), is commonly called Orcaona, (supposed to be a corruption of " Arcagnuolo,") the name given to him by his contemporaries. His father, a goldsmith, instructed him in the rudiments of his art ; in 1343 he was registered in the Florentine Painters' Guild, and nine years later he became master in the Guild of the Stone-Cutters. Between 1350 and 1357, in conjunction with his elder brother, Leonardo (more commonly called Nardo), he painted in the Strozzi Chapel in Santa Maria Novella, Florence. The frescoes, the ' Last Judg- ment,' ' Paradise,' and an altar-piece of the year 1357, by Andrea, and 'Hell,' by Nardo, though much damaged by damp and restoration, still remain. For the same chapel he painted, in 1354, an altar-piece of the ' Saviour enthroned with Saints and Angela.' Early in 1358 Orcagna went to Orvieto, where he worked at intervals until 1361.
The death of Orcagna is now usually placed in 136H, and accordingly 1308 is given as the year of his birth, for he is said to have been sixty years old when he died.
If the year 1368 be correct, it, of course, robs him of th-' authorship of any works executed sub- sequent to that date. Amongst the paintings formerly ascribed to him, but now assigned to other masters, are the great frescoes in the Campo Santo at Pisa, representing the ' Triumph of Death,' the ' Last Judgment,' and ' HeU,' which are thought to be of Sienese workmanship, similar to that of the Lorenzetti Orcagna was also a sculptor and architect. On his sculptures he wrote, " Fece Andrea di Clone, Pittore " ; on his paintings, " Fece Andrea di Clone, Scultore." The Tabernacle with medallions illus- trating the life of the Blessed Virgin Mary in Or
San Michele, Florence, built to enclose a miracuhjua
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