same audiences to the theatre, make a more frequent change in the entertainment, than in our large metropolis, eminently desirable, if not imperatively necessary. He brought out "Gli Orazii e Curiazii" at Venice in 1794, an opera interesting to us on account of its long popularity in this country, and on account of our famous Braham having been the original representative of its principal character. In the political troubles that disturbed Naples towards the close of the last century, Cimarosa so far compromised himself with the revolutionary party, that upon the re-establishment of royal authority he was thrown into prison, and there remained for more than a year under sentence of death, which is said to have been remitted in consideration of his artistic distinction. It may be remarked, that his Neapolitan biographers make no mention of Cimarosa's indiscreet interference in politics; but speak of his twelve months' absence from public life as a retirement f or the benefit of his health. Upon his release in 1800, he went to Venice, where he completed one opera, which was successfully produced, and was engaged upon another, Artemisia, which death prevented him from finishing. The belief was prevalent that he died from poison, secretly administered to him by order of the Neapolitan government, which, though deeming it impolitic to bring a man of such universal popularity to public execution for his state offence, would not suffer one who had made open profession of republicanism to pass unpunished. So greatly was the government scandalized by the currency of this report, that it became necessary to issue officially a certificate of Piccioli, the physician to the court and to the pope, stating that he died from an internal tumour, which, however, obtained very little credence. In the September following his death, a magnificent funeral solemnity for the repose of his soul was celebrated at the church of S. Carlo dei Cattinari in Rome, at the instigation of Cardinal Ercole Consalvi, where the entire music was the composition of Cimarosa, for the performance of which, all the artists of the city, and many from distant states, gave their gratuitous services, as an act of homage to his memory. In 1816, the same cardinal had a monument to the composer, the work of Canova, erected in the rotunda of the church of S. Maria ad Martyres. Cimarosa was twice married; his second wife bore him two sons.
Cimarosa wrote, within eight-and-twenty years, nearly ninety operas, many masses, and other works for the church, several sacred cantatas, and an incalculable number of detached pieces, to particularize which would far exceed the present limits. He lived at a most important epoch in the history of dramatic music, when the opera had assumed its present ascendancy in all the theatres of his country, and when these sent forth their creative and executive artists into all the capitals of Europe, to raise temples to the national muse of Italy, and disseminate a feeling for her worship; but the opera had yet to acquire that grandeur, as a work of art, which it derives, not from its presentation of an individual passion, but from its embodiment of a comprehensive action, in which conflicting emotions and wide diversity of character are involved; and Cimarosa was one of the first to develope this great essential of the lyrical drama, and thus to raise his branch of the art to the elevation at which it now flourishes. It has been, more than it is, a custom to compare Cimarosa with Mozart; and the parallel holds in respect to their spontaneous fluency of thought and to their felicitous application of the resources of their art to the illustration of the business of the scene: but these resources were widely different at the disposal of the two masters; and though their works may have some affinity in design, they are constituted of very dissimilar elements. A more truthful resemblance is to be traced between the genius of Cimarosa and of his contemporary countrymen, Pæsiello and Guglielmi, the former of whom certainly ranks with him in excellence, but is distinguished from him by the tender sentiment that stamps his music; whereas that of Cimarosa is marked rather by humour, force of character, and dramatic colouring. Though the majority of his operas have comic subjects, and his best successes were with works of this class, he was far from wanting in ability for the treatment of graver themes, as is proved by the merit of his many tragic works; and, to sum up in one phrase his relationship to other labourers in the same field, his writings form the link between the ancient and modern schools of Italian music—between the styles of Piccini and Rossini.—G. A. M.
CIMBER, L. Tullius, one of the murderers of Cæsar, 44 b.c. He was near the person of the dictator on the fatal day, under pretence of presenting a petition in favour of his exiled brother. After the murder he went to Bithynia, the province which had been assigned him by Cæsar, and raised a fleet, with which he co-operated with Cassius and Brutus.—J. S., G.
CIMON, one of the most famous Athenian statesmen and generals, was the son of Miltiades, victor at Marathon, and Hegesipyle, daughter of Olorus, king of Thrace, and was born 510 b.c. Cimon brought himself into notice on the invasion of Greece by Xerxes; but his first memorable exploit was the capture of the important town of Eion on the Strymon 476 b.c. Boges, the Persian governor, after defending himself to the last extremity, finding his provisions exhausted, threw his gold and silver into the river, and consumed his wives and children and himself on the same pile. Cimon then seems to have set himself to complete the overthrow of the Persian dominion in Europe, by expelling their remaining garrisons from the coasts and islands of Greece. He seized the island of Scyros, expelled its piratical inhabitants, and peopled it with Athenian settlers. But his most brilliant success was at the Eurymedon in Pamphylia, 466 b.c., where he destroyed a large Persian fleet, then disembarked his men, defeated the army which was drawn up on shore to protect the ships, and finally entrapped and destroyed a squadron of Phenician ships which was on its way to reinforce the Persians. He took an immense booty and many prisoners, dislodged the enemy from the entire coast of Thrace, and thrust them back to the regions eastward of Phaselis. As the leader of the oligarchy, Cimon was now for some years the most powerful citizen in Athens; but the democratic party, headed by Pericles, gradually gained ground upon their rivals, and at length taking advantage of the insulting manner in which the Spartans dismissed a body of Athenian troops under Cimon, who had been sent to their aid in suppressing an insurrection of the Helots, the partisans of Pericles succeeded in procuring by ostracism a sentence of banishment against Cimon for ten years, 461 b.c. After the unsuccessful battle of Tanagra, however, 467 b.c., in which he was not allowed to take part though he entreated permission to fight in the ranks, he was recalled by a decree proposed by Pericles himself, apparently under the impulse of generous sympathy and patriotic feeling. In 450 a peace concluded between Athens and Sparta, mainly through the influence of Cimon, and next year the war with Persia was renewed at his instance. He set sail for Cyprus with a fleet of two hundred triremes, and laid siege to Citium. Here he died either from illness or from the effects of a wound. Cimon was noted for his open-hearted manner, convivial habits, and generous disposition. He spent the large fortune he had acquired by his successful expeditions, with unsparing liberality, in decorating and providing for the defence of his native city, and in entertaining the poorer citizens. His great policy was to maintain the unity of the Grecian states, and to carry on incessant war against the Persian monarchy.—J. T.
CIMON of Cleonæ, a Greek painter of doubtful date, who is reckoned the first painter who adopted foreshortening, He flourished probably before 460 b.c.—J. S., G.
CINADON, the leader of a conspiracy against the Spartan oligarchy, who was put to death in 397 b.c.
CINCINNATO, Romolo: this painter was born at Florence about the year 1525. He was a pupil of Francesco Salviatí; and in 1567, on the invitation of Philip II., he proceeded to Spain, and was employed in the decoration of the Escurial. He painted part of the great cloister in fresco, and in the church of St. Lorenzo two subjects representing St. Jerome reading and preaching to his followers, and also two frescos of St. Lorenzo. He painted "The Circumcision" in the church of the jesuits at Cuença, and some mythological subjects in the palace of the duke del Infantado at Guadalaxara. He died in 1600.—His two sons, Diego and Francesco, both achieved fair reputations as portrait painters. They studied under their father. Diego was sent to Rome by Philip IV. to paint for that monarch a portrait of Pope Urban VIII., who highly applauded the painter, knighted him, and decorated him with a gold chain and medal. Diego died in 1626; Francesco in 1635.—W. T.
CINCINNATUS, Lucius Quintius, a famous Roman consul, and a model of integrity and simplicity of manners, was born about 519 b.c. In 460 b.c. he was chosen consul in the room of P. Valerius; and when the messengers went to announce his election they found him cultivating his farm with his own hands. Soon after, in 458 b.c., he was called again to leave his rural employment and assume the office of dictator, in consequence of
