CIBBER. 738 CICADA. 15s.; and on the commendation of Congreve. who liad witne.ssed his performance of Lord Toueli- wood, five additional shillings per week were added. Cibber now began to take the leading parts in many eomedies, and soon established his re]nitalion as an aetor. In the meantime he was writing comedies. J,orc's Last Shift was pro- duced in 1090, and thereafter followed i'.t more plays. As a dramatist, Cibber claims to have done much toward the reformation of the stage. However immoral individual scenes in his plays may be, the libertines are reclaimed in the last act*. As playwright and comedian, he was closely connected with Urury T.ane Thi'atre. of which he became manager in 1710. He retired from the stage in 1733, though after that date lie occa- sitmally reappeared. Three years before he had been appointed poet laureate. The poems he now wrote were worthless, and e.posed him to scathing ridicule. Pope made him the hero of the new Dunciad (1742). After retiring from the stage, Cibber began his famous Apology, which appeared in 1740. This book is not only an important history of the Queen Anne stage; it is one of the most amusing autobiographies ever written. Cibber died December 12, 1757. Consult Cibber, Apology, ed. by Lowe (London, 1S88). CIBBER, SrsANN.
JL^ria (Abne) (HU-
GO ) . An English actress. She received instruc- tion in nuisic from her brother. Dr. Arne; first appeared publicly in 1732, and rose to great public favor in opera and oratorio. She was an especial favorite with Handel and was the first Galatea in his Acix and Galatea. He wrote the contralto songs in the Messiah and the part of Micah in Samsox expressly for her. Two years after her marriage to Theophilus. son of the dramatist Colley Cibber. which took place in 1734 and proved very unhappy, she appeared as an actress, and soon gave her entire attention to tragedy, excelling as Constance of Bretagne in Kiitg .fohii, and as Ophelia in Hamlet. CIBOL, sib'ol. Sec Oxiox. CIBO'RIUM (Lat., from Gk. Ki^iipiov. Icibo- rioii, slicU, cup). A term used mainly in two distinct senses: (1) for an altar-canopy, and (2) for a vase to contiiin the reserved Sacrament, from which communion is ordinarily given in the Roman Catholic Church. From the earliest times after Christianity emerged from the catacombs (Fourth Century") the high altar in a Christian church or basilica was surmounted by a canopy resting on columns, and made of gold, silver, bronze, or marble. These canopies were among the richest pieces of church furniture and were decorated with reliefs, statues, and a variety of architectural details. The earliest metal eiboria, of which many superb examples were given by the Topes to Roman churches, have not survived the melting-pot. The marble ones of the Sixth Century, at Ravenna and Parenzo, are among the earliest. That given by Justinian (Sixth Cen- tury) to Saint Sojihia. in Constantinople, was the most sumptuous. Of mediirval marble ex- amples, there are many in Rome: of the classic type, at San Lorenzo and San Giorgio: of the Gothic type, at Santa Cecilia and the Latcran, decorated with mosaics and sculpture. A re- markable Lombard example is at Sant' Ambrogio, Milan : another at San Marco, Venice. ^lany others are in Uie churches of southern Italy (Eleventh-Fourteenth centuries). This custom was al>andoned throughout Europe, except in Italy, after the Thirteenth Century, the altar being left uncovered. Since the Sixteentli Cen- tury the ciborium, in this sense, has been called in ' Italy a baldachin (q.v.). See Altab; Caxopy. The second meaning, which is now the more usual, designates a ch)sed vase to contain the Host. Such rcceptixcles were originally ( Fourth- Eighth centuries) in the form of a dove, made of gold, silver, or gilt copper, suspended over the high altar from the ciborium. Sometimes they were inclosed in a tabernacle in the shape of a tower. Then the dove-shaped recepUicles were, in the Ninth Century, replaced by pyxes (q.v.) or small cylindrical boxes of gold, silver, ivory, etc., which had been already in partial use. These were susjjended over the altar or placed in a small niche in the wall near the altar, in churches where there was no ciborium over tiie altar. The primitive connection between the con- structive ciborium and this receptacle for the re- served Sacrament caused the name ciliorimu to be applied to the latter in late mediaeval times, when the use of the constructive cilxn-ium had ceased; but the term pyxis is the nu)re correct name. The wall-niche in which the ciborium is placed was also called ciborium; it had decora- tive architectural door-reliefs and a frontispiece; and some of those executed during the Italian Renaissance are exquisitely sculptured. CIBRARIO, che-bra're-o, Giovanni Antonio LuiGi, Count (1802-70), An Italian historian and politician. He was born in Turin, studied at the university of that city, and took his degree of doctor of laws in 1824. King Charles Albert of Sardinia, with whom he was a great favorite, sent him in 1848, when Italy rose against the Austrians, as royal commissioner to Venice. During the same jear he was created a Senator of the kingdom. When Charles Albert — after the unfortunate issue of the war — went to live in voluntary exile at Oporto, Cibrario was sent by the Sardinian Senate to induce him to return. In IS.^O he was ajipointed Superintendent-Gene- ral of Customs, and negotiated a treaty of com- merce with FraiU'C. In 1852 he was made Min- ister of I'ulilic Instruction liy Victor Emmanuel, and in 1855 he became Minister of Foreign Af- fairs in Cavour's Cabinet. He resigned his posi- tion in the following year, and he thenceforth devoted himself mainly to historical research. He died at .Salo, in the Province of Brescia. His fame as a historian rests on the following works: yotizie siilla storia del priiicipi di Savoia (1825): Dellc storie di Chieri (1827): Dell' ecoiiomia politiea del medio eim (183!)): Sto- ria delta moiHirrhia di flavoia (1843): Storia di Torino (1847) : Delia sehiavitii e del scrvag- gio e specialmente del servi agrieoltori (1868). Consult Odoviei, II conte Luigi Cibrario (Flor- ence. IS731. CICATJA. One of the Cieadida>. a family of homopterous bugs, composed, for the most part, of large insects, very few measuring less than one inch across the opened wings, while many are as large as seven inches. The fore wings are usually transjiarent, but in some forms are liighly pigmented, especially with black and yel- low. About 800 species are known, mostly trop- ical.
