A BIOGRAPHICAL DICTIONARY OF
ing in the Garden,' the ' Flagellation,' and the
' Ecce Homo,' which he painted for the church of
San Stefano, and his ' St. Agatha,' for tlie church of
that Saint, are productions not unworthy of a dis-
ciple of Guido. Yet, whether he was alhired by the
encouragement given to the painters of ornamental
cabinet pictures, or from his own caprice, this able
artist descended to the humble imitation of still-
life. Many of his pictures of dead game, fruit, and
flowers, are in the collections at Bologna, where he
died in 1681. An 'Adoration of the Shepherds'
by him is in the Hermitage, St. Petersburg; and
the Dresden Gallery contains ' Hagar and the
Angel,' 'Lot and bis daughters leaving Sodom,'
and a picture of still-life. Three paintings by him
are in the Bologna Gallery. Albani called the
three sons of this painter, ' I Fruttajuoli ' and
' I Fioranti '
CIVALLl, Francesco, who was born at Perugia in 1 6G0, was a scholar of Andrea Carlone. On leav- ing that master he went to Rome, where he studied some time under Giovanni Battista Gauli, called Baciccio. He was a reputable painter of history ; but his chief merit consisted in his portraits, which are very generally esteemed. He died in HOS.
CIVERCHIO,ViNCENZO, (or Verchio,) was born at Crema towards the close of the 15th century. He has also been styled " II Fobkaro," and was at Brescia for the first time in 1493, where he spent fuur j-ears in the decoration of the old cathedral, a labour which has now entirely disappeared. The churches of Santa Barnaba and Sant' Alessandro, Brescia, contain altar-pieces by him, dated 1495 and 1504. His earliest known remaining work at Crema is the altar-piece in the duomo, representing 'St. Sebastian, between SS. Christopher and Roch,' dated 1509. In 1526 he painted the portraits of the illustrious citizens of Crema, and likewise restored a miraculous Pieta, which belonged to the duomo. The date of his death is uncertain. He was living in 1539, for that date is found on a ' Baptism of Christ ' by him in the Tadini Collection at Lovere. The following of his paintings are worthy of note :
Brescia. S. Alessandro. Pieta. 1504. „ „ Scenes of the Passion. 1504. Orema. Bishop^s Chapel. An Annunciation. „ Town Hall. St. Mark between Justice and Temperance. 1507—1509. » n Several portraits of personages of distinction in that city. 1526. „ Cathedral. St. Sebastian between SS. Rocli and Cliriatopher. 1513 or 1519. Gessate. S. Pietro. Pieta. Lovere. Tadini Coll. Baptism of Christ. 1539. „ Casa Carioni. 15 Scenes from the Story of Psyche (as a /m-c). 1540. „ 5 Andrea. Trinity. ,. „ SS. Nicholas, Sebastian, and Eoch. Palazzuolo. Church. The Madonna and Child, with Angels and Saints. 1525. Vasari by mistake speaks also of an older painter of the same name.
CIVETON, Christophe, a French engraver and draughtsman, was born in Paris in 179C. He studied under Bertin, and made drawings of Views in the environs of Paris. He died in 1831.
CIVETTA. See Bles.
CLACK, Richard AnoDSTns, the son of a Devon- shire clergyman, wnose chief works were portraits, exhibited at the Royal Academy from 1830 to 1857. He lived for some time at Exeter, and aftenvards at Hampstead, but the dates of his birth and death are not recorded.
CLAES, Anthonie, (or Claesseks,) the son of Pieter Claes the elder, painted historical and alle- gorical subjects, and portraits. He was a native of Bruges, and there entered the Guild of St. Luke in 1575, and became its dean in 1586, 1590, and 1601. He died in 1613. His works, several of which are in the H6tel-de-Ville and churches of Bruges, are distinguished by their fine colouring and finish. In the H6tel-de-Ville is a ' Grand Banquet,' with many portraits of magistrates of the time, dated 1574.
His son, PiETER Anthonie, wsis dean of the Guild of St. Luke at Bruges in 1607, and died in 1608.
CL.^ES, Fl.ORENT, a Belgian painter of interiors and genre subjects, was born at Antwerp in 1818. He studied under N. de Keyser, and died in his native city in 1870.
CLAES, GiLLES, (or Claessens,) an historical painter, was the son of Pieter Claes the elder. He was bom at Bruges, and in 1570 was admitted into the Guild of St. Luke, of which he became dean in 1577. He became domestic painter to Alessandro Famese, Duke of Parma, Governor of the Nether- lands, and to the Archduke Albert and Infanta Isabella. He died at Bruges in 1607.
CL.'^ES, PiETEB, (or Claessens.) the elder, a Flemish painter of history and portraits, was the earliest of a large family of artists who lived at Bruges, where he was born in 1500. He was a pupil of Adriaan Bekaert, and was admitted into the Guild of St. Luke in that city in 1516, made a master in 1529, and dean in 1572. He died at Bruges in 1576. In the collection of the Prince of Orange at Brussels was a painting by him of a knight kneeling, with four sons, and in the Copen- hagen Museum is a Man's Portrait by him. The name has been often written Claeis, Claeissens, Claeyssens, and Claeyssoone.
CLAES, Pieter, (or Claessens,) the younger, was the son of Pieter Claes, the elder. He was born at Bruges, and died there in 1612. He painted history, allegories, and portraits, and became a master of the Guild of St. Luke, at Bruges, in 1570, and dean in 1587, 1600, and 1606. His masterpiece is a triptych in the church of St. Walburga at Bruges, representing ' Notre-Dame de I'Arbre-Sec,' painted in 1606-1608, and long erroneously attri- buted to Pourbus. There is also a triptych, an ' Ecce Homo,' by him, in the cathedral, and the ' Pacification of Ghent ' in the Academy at Bruges. His works are remarkable for their design and colouring, but are wanting in animation. This artist had a son, also named Pieter, who died in 1623. His ' Christ bearing the Cross ' is in the Hospital of St. John at Bruges.
CLAESSEN, Aertgen, also called Aebtqen van Leyden, or Aertgen de Voller, was a Dutch painter, bom at Leyden in 1498. He was a scholar of Cornells Engelbrechtszoon, whose manner he at first imitated ; but on seeing the works of Schoorl and Heemskerk, he changed his mode of designing, which was neither correct nor agreeable, and adopted the style of those masters. He painted historical subjects, and composed his subjects with surprising facility. He also made many designs for painters upon glass. Van Mander speaks in very favourable terms of two pictures by this master at Leyden, one representing the ' Crucifixion, with the Virgin, Mary Magdalen, and the Disciples ; ' the other, ' Christ bearing his Cross.'
He died in 1564. There are paintings by him in
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