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was used in a lantern so arranged that beams of red (composed of crimson and yellow) and of green (composed of yellow and blue) issued from the lens alternately, the mechanism presenting the pictures made with the red filter to the red beam, and those made with the green filter to the green beam. A supplementary shutter was provided to introduce violet and blue, to compensate for the deficiency in those colours caused by the necessity of cutting them out in the camera owing to the over-sensitiveness of the film to them, and the result was that the successive pictures, blending on the screen by persistence of vision, gave a reproduction of the scene photographed in colours which were sensibly the same as those of the original.

The cinematograph enables “living” or “animated pictures” of such subjects as an army on the march, or an express train at full speed, to be presented with marvellous distinctness and completeness of detail. Machines of this kind have been devised in enormous numbers and used for purposes of amusement under names (bioscope, biograph, kinetoscope, mutograph, &c.) formed chiefly from combinations of Greek and Latin words for life, movement, change, &c., with suffixes taken from such words as σκοπεῖν, to see, γράφειν, to depict; they have also been combined with phonographic apparatus, so that, for example, the music of a dance and the motions of the dancer are simultaneously reproduced to ear and eye. But when they are used in public places of entertainment, owing to the extreme inflammability of the celluloid film and its employment in close proximity to a powerful source of light and heat, such as is required if the pictures are to show brightly on the screen, precautions must be taken to prevent, as far as possible, the heat rays from reaching it, and effective means must be provided to extinguish it should it take fire. The production of films composed of non-inflammable material has also engaged the attention of inventors.

See H. V. Hopwood, Living Pictures (London, 1899), containing a bibliography and a digest of the British patents, which is supplemented in the Optician, vol. xviii. p. 85; Eugène Trutat, La Photographie animée (1899), which contains a list of the French patents. For the camera see also Photography: Apparatus.

CINERARIA. The garden plants of this name have originated from a species of Senecio, S. cruentus (nat. ord. Compositae), a native of the Canary Isles, introduced to the royal gardens at Kew in 1777. It was known originally as Cineraria cruenta, but the genus Cineraria is now restricted to a group of South African species, and the Canary Island species has been transferred to the large and widespread genus Senecio. Cinerarias can be raised freely from seeds. For spring flowering in England the seeds are sown in April or May in well-drained pots or pans, in soil of three parts loam to two parts leaf-mould, with one-sixth sand; cover the seed thinly with fine soil, and press the surface firm. When the seedlings are large enough to handle, prick them out in pans or pots of similar soil, and when more advanced pot them singly in 4-in. pots, using soil a trifle less sandy. They should be grown in shallow frames facing the north, and, if so situated that the sun shines upon the plants in the middle of the day, they must be slightly shaded; give plenty of air, and never allow them to get dry. When well established with roots, shift them into 6-in. pots, which should be liberally supplied with manure water as they get filled with roots. In winter remove to a pit or house, where a little heat can be supplied whenever there is a risk of their getting frozen. They should stand on a moist bottom, but must not be subjected to cold draughts. When the flowering stems appear, give manure water at every alternate watering. Seeds sown in March, and grown on in this way, will be in bloom by Christmas if kept in a temperature of from 40° to 45° at night, with a little more warmth in the day; and those sown in April and May will succeed them during the early spring months, the latter set of plants being subjected to a temperature of 38° or 40° during the night. If grown much warmer than this, the Cineraria maggot will make its appearance in the leaves, tunnelling its way between the upper and lower surfaces and making whitish irregular markings all over. Such affected leaves must be picked off and burned. Green fly is a great pest on young plants, and can only be kept down by fumigating or vaporizing the houses, and syringing with a solution of quassia chips, soft soap and tobacco.

CINGOLI (anc. Cingulum), a town of the Marches, Italy, in the province of Macerata, about 14 m. N.W. direct, and 17 m. by road, from the town of Macerata. Pop. (1901) 13,357. The Gothic church of S. Esuperanzio contains interesting works of art. The town occupies the site of the ancient Cingulum, a town of Picenum, founded and strongly fortified by Caesar’s lieutenant T. Labienus (probably on the site of an earlier village) in 63 B.C. at his own expense. Its lofty position (2300 ft.) made it of some importance in the civil wars, but otherwise little is heard of it. Under the empire it was a municipium.

CINNA, a Roman patrician family of the gens Cornelia. The most prominent member was Lucius Cornelius Cinna, a supporter of Marius in his contest with Sulla. After serving in the war with the Marsi as praetorian legate, he was elected consul in 87 B.C. Breaking the oath he had sworn to Sulla that he would not attempt any revolution in the state, Cinna allied himself with Marius, raised an army of Italians, and took possession of the city. Soon after his triumphant entry and the massacre of the friends of Sulla, by which he had satisfied his vengeance, Marius died. L. Valerius Flaccus became Cinna’s colleague, and on the murder of Flaccus, Cn. Papirius Carbo. In 84, however, Cinna, who was still consul, was forced to advance against Sulla; but while embarking his troops to meet him in Thessaly, he was killed in a mutiny. His daughter Cornelia was the wife of Julius Caesar, the dictator; but his son, L. Cornelius Cinna, praetor in 44 B.C., nevertheless sided with the murderers of Caesar and publicly extolled their action.

The hero of Corneille’s tragedy Cinna (1640) was Cn. Cornelius Cinna, surnamed Magnus (after his maternal grandfather Pompey), who was magnanimously pardoned by Augustus for conspiring against him.

CINNA, GAIUS HELVIUS, Roman poet of the later Ciceronian age. Practically nothing is known of his life except that he was the friend of Catullus, whom he accompanied to Bithynia in the suite of the praetor Memmius. The circumstances of his death have given rise to some discussion. Suetonius, Valerius Maximus, Appian and Dio Cassius all state that, at Caesar’s funeral, a certain Helvius Cinna was killed by mistake for Cornelius Cinna, the conspirator. The last three writers mentioned above add that he was a tribune of the people, while Plutarch, referring to the affair, gives the further information that the Cinna who was killed by the mob was a poet. This points to the identity of Helvius Cinna the tribune with Helvius Cinna the poet. The chief objection to this view is based upon two lines in the 9th eclogue of Virgil, supposed to have been written 41 or 40 B.C. Here reference is made to a certain Cinna, a poet of such importance that Virgil deprecates comparison with him; it is argued that the manner in which this Cinna, who could hardly have been any one but Helvius Cinna, is spoken of implies that he was then alive; if so, he could not have been killed in 44. But such an interpretation of the Virgilian passage is by no means absolutely necessary; the terms used do not preclude a reference to a contemporary no longer alive. It has been suggested that it was really Cornelius, not Helvius Cinna, who was slain at Caesar’s funeral, but this is not borne out by the authorities. Cinna’s chief work was a mythological epic poem called Smyrna, the subject of which was the incestuous love of Smyrna (or Myrrha) for her father Cinyras, treated after the manner of the Alexandrian poets. It is said to have taken nine years to finish. A Propempticon Pollionis, a send-off to [Asinius] Pollio, is also attributed to him. In both these poems, the language of which was so obscure that they required special commentaries, his model appears to have been Parthenius of Nicaea.

See A. Weichert, Poëtarum Latinorum Vitae (1830); L. Müller’s edition of Catullus (1870), where the remains of Cinna’s poems are printed; A. Kiessling, “De C. Helvio Cinna Poëta” in Commentationes Philologicae in honorem T. Mommsen (1878); O. Ribbeck, Geschichte der römischen Dichtung, i. (1887); Teuffel-Schwabe, Hist. of Roman Lit. (Eng. tr. 213, 2-5); Plessis, Poésie latine (1909).