21 



CAGLIARI, PAOLO. 



CAGNOLI, ANTONIO. 



CAGLIA'RI, or CALIA'RI, PAOLO, called PAOLO VERONESE, 

 from the place of his birth, was the most eminent master in what may 

 be termed the ornamental style of painting. He was born at Verona, 

 in 1532 acco-ding to Ridolfi, but more probably in 1530 ; Zanetti 

 says 1532. His father, Gabriele Cagliari, was a sculptor, and origi- 

 nally intended his son for his own profession ; but in consequence of 

 the boy's determined preference for the sister art, he was placed under 

 his uncle, Antonio Badile, to be taught painting. He improved 

 rapidly, and very early in his life enjoyed an extensive and profitable 

 patronage. 



While yet young he visited Venice, where he was commissioned to 

 execute some paintings in the church and sacristy of St. Sebastian. 

 The pictures excited universal admiration, from the originality of the 

 style and the vivacity of the design. Commissions for oil paintings 

 poured in upon him, and a portion of the walls of the ducal palace 

 was allotted to him for embellishment. From this time his fame and 

 wealth increased rapidly. 



He subsequently went to Home ; and in the course of his life visited 

 numerous towns of his native country, in which he left behind him 

 many lasting memorials. He was so well satisfied with his honours 

 and emoluments at home, that he declined accepting the invitation of 

 Philip II. to visit Spain, and contribute some works to the Escurial. 

 He lived a life of uninterrupted labour and success, and died at Venice 

 in April 1588, leaving great wealth to his two sons, Gabriele and Carlo, 

 who were also his pupils. They did not however attain their father's 

 celebrity. Carlo died young. Gabriele is said to have abandoned 

 painting for mercantile pursuits. Paolo had a brother, Benedetto 

 Cagliari, who was a sculptor, but also practised painting : some of the 

 fine urchitectural back-grounds which adorn the pictures of Paolo 

 are attributed to him. 



Paolo Veronese ranks among the greatest masters of the art, espe- 

 cially as a colourist. His colouring is less true to nature than Titian's, 

 and less glowing in the tints ; but is rich and brilliant, and abounds 

 in variety and pleasing contrasts. His style is Sorid and ornate, his 

 invention easy and fertile, and his execution characterised by a mas- 

 terly facility. His principal works are at Venice, but his productions 

 are to be met with in most collections. One of his finest works, the 

 'Marriage at C'ana,' in in the Louvre. Our own National Gallery con- 

 tains two very excellent works by him. 



CAGLIOSTRO, ALEXANDER, commonly called COUNT DE, one 

 of the most impudent and successful impostors of modern times. His 

 real name was Joseph Balsamo, and he was born at Palermo on the 

 8th of June 1743. His friends designed him for the monastic 

 profession, but during his noviciate he ran away from his convent, 

 and thenceforward lived upon his wits and the credulity of mankind. 

 The first exercise of his ingenuity, in a public way, was to forge 

 tickets of admission to the theatres. He then proceeded to forge a 

 will, and having robbed his uncle, and being accused of a murd-r 

 besides, he was thrown into prison. He was liberated, again im- 

 pri-oned, and again set free ; but was finally obliged to fly from 

 Sicily for cheating a goldsmith of a large sum of money under 

 pretence of showing him a hidden treasure. He went successively 

 to Alexandria, Rhodes, Malta, Naples, Rome, and Venice, at one of 

 which places he married a woman whose great beauty and profound 

 immorality were very useful to him. 



Quitting Italy this couple visited Holstein, where Caglioatro pro 

 feued alchemy; and thence they went to Russia, Poland, &c. In 

 1780 they fixed themselves at Strasbourg, where the toi-diaant count 

 practised as a physician, and pretended to the art of making old women 

 young. Aa Ms handsome wife, who was only twenty, vowed she was 

 sixty, and had a son, a veteran captain in the Dutch service, they for 

 a time obtained a good deal of practice among the old women oi 

 Strasbourg. Thence they went to Paris, where Cagliostro exercised 

 the profitable profession of Egyptian free-masonry (as he called it), and 

 pretended to show people the ghost of auy of their departed friends. 

 In 17*45 be was deeply implicated with the Cardinal Duke de Rohan 

 in the notorious affair of the diamond necklace in which the name 

 and fame of Marie Antoinette, the unfortunate queen of France, were 

 committed. Cagliostro was, in consequence, shut up for nine months 

 in the Bastille ; and on his expulsion from France, he proceeded to 

 England, where, during a stay of two years, he found no lack of 

 cir'iulity. What took him again to Rome we know not, but in 

 December 1789, he was arrested in that city, imprisoned in the castle 

 of Sant' Angelo, and after a long trial condemned to death for being 

 a freemason. (See ' Process,' &c., published at Rome a verj 

 curious document.) His severe sentence was commuted to perpetual 

 imprisonment, and he was transferred to the fortress of San Leo, where 

 he died in 1795. His wife was also arrested, and condemned to pass 

 the remainder of her life in a convent : she survived her husbanc 

 several years. 



CAUNO'LA, LUIGI, MARQUIS, one of the most distinguished 

 Italian architects of the present century, was born at Milan in 1762 

 of an anuieut patrician family. At the age of fourteen, Luigi was eenl 

 by his father, the Marchefe Gastano Cagnola, to the Clementine Collegi 

 at Bom*, and thence in 1781 to the university of Pavia, in order tc 

 study jurisprudence; but, although he was far from neglecting his 

 studies, bis passion for architecture was insuperable, and he resolvet 

 to devote himself exclusively to that art, notwithstanding that profes- 



ional practice in it was deemed somewhat derogatory in one of his 

 auk and station. For a while Cagnola held some official posts in the 

 jivil government of Milan ; but at length ventured to put forth three 

 different designs for the Porta Orientale, then about to be erected at 

 Milan. Cagnola's designs were approved, but that by Piermariui was 

 adopted, as being more economical. He now engaged the services of 

 a clever artist, named Aureglio, and undertook a series of illustrations 

 of the ancient baths of Maximian, near the church of San Lorenzo, 

 jublished under the title of ' Antichita Lombardico-Milanesi ;' and he 

 vas afterwards employed by the government (1812) to secure from 

 'urther ruin the sixteen noble Corinthian marble columns which 

 constitute the chief remains of that monument of antiquity. The 

 death of his father, in 1799, devolved upon Cagnola an important share 

 n public affairs, when, besides being one of the state council, he was 

 attached to the army commissariat in the Austrian service. On the 

 change of the government by the establishment of the Cisalpine 

 Republic, he withdrew from Milan, and spent about two years at 

 Verona and Venice, fully occupied in studying the architectural 

 treasures of those cities. Soon after his return, he erected in 1802 a 

 noble villa for the brothers Zurla, at Cremi, near Vajano; and about 

 the same period designed the magnificent 'catafalchi' for the funeral 

 obsequies of Archbishop Viconti, the Patriarch Garnberi, and Count 

 Anguissola, published in folio, 1802. On the marriage of the Viceroy 

 Eugene Beauharnois with' the Princess Amelia of Bavaria in 1806, he 

 was called upon to erect another grand temporary structure; but such 

 was the admiration excited by the arch constructed of wood on that 

 occasion, that it was determined to perpetuate it in marble. Accord- 

 ingly, the first stone of the Porta del Sempione, or, as it is now called, 

 the Arco della Pace, was laid October 14, 1807. The political changes 

 which afterwards took place threatened to put a stop to the work 

 altogether, when it was not advanced beyond the piers of the arches. 

 Almost the idea of its being ever completed had been abandoned, 

 when, on his visit to Milan, the emperor Francis I. of Austria, ordered 

 the works to be resumed ; and from that time they were prosecuted 

 without interruption, so that Caguola saw the whole structure very 

 nearly terminated before his death. With the exception of the Arc de 

 1'Etoile at Paris, the Arco della Pace is by far the largest as well as 

 most magnificent structure of the kind in modern times, and in its 

 general mass it is equal to, even if it does not somewhat exceed, the 

 largest of the ancient the Arch of Constantine ; it being 78 feet 

 English wide, as many high, and about 27 feet deep. 



Another public monument by him at Milan, which is greatly 

 admired, is the Porta di Marengo, otherwise called Porta Ticinense, 

 an Ionic propylamm, whose two fronts consist of a distyle in antis, 

 consequently of three open intercolumns, and the two sides or ends 

 are filled in with an open arch. 



The Campanile at Urgnano in the Bergamasque territory, begun in 

 1824 and finished in 1829, exhibits more of design and composition 

 than the preceding. It is a circular tower of three orders, Doric, 

 Ionic, and Corinthian, upon a square rusticated basement, each order 

 consisting of eight half-columns, and between thoae of the Corinthian 

 order are as many open arches. Above this last rises an additional 

 order of Caryatid figures supporting a hemispherical dome : the entire 

 height from the ground is 58 metres, or 190 English feet. The eleva- 

 tion of this Campanile is engraved in the ' Ape delle Belle Arte,' 

 Rome, 1835. Among other works executed by Cagnola are the chapel 

 of Santa Marcellina in the church of San Ambrogio, at Milan ; the 

 church at Concorrezzo; the facade of that at Vivallo ; and the church 

 at Ghisalba in the Bergamasque. This last, which was not completed 

 till after his death, in 1835, is his noblest work of the kind, and is a 

 rotunda of the Corinthian order, with a portico of fourteen columns. 

 The interior has sixteen columns of the same order. Besides those 

 which were carried into execution, Cagnola produced a great number 

 of designs and projects, in several of which he gave such free scope to 

 his invention and grandezza of ideas, as to render their adoption 

 hopeless ; such, for instance, was that for an Hospitium on the 

 summit of Mount Cenis, with no fewer than 110 columns 11 English 

 feet in diameter to which may be added his designs for a senate- 

 house and a magnificent triumphal bridge. He also indulged his 

 taste without regard to cost in improving or nearly rebuilding his 

 villa at Inverigo near Milan, which occupied him during the last years 

 of his life, and which he directed to be completed by his widow. 



Cagnola died of apoplexy, August 14th, 1833, at the age of seventy- 

 one. There is a portrait of him in Fbrster's 'Bauzeitung' for 1838, 

 with an accompanying memoir, to which we are indebted for some of 

 the particulars in this article. 



CAGNO'LI, ANTO'NIO, born at Zante, September 29, 1743. Ha 

 was attached to the Venetian embassy at Paris, and formed a taste 

 for astronomy and an intimacy with Lalaude. He built an observatory 

 in the Rue Richelieu, and continued to make it useful till 1786, when 

 he went to Verona, where he built another. This last was damaged 

 by French cannon shot in 1797, but the owner was indemnified by 

 General Bonaparte, who removed him to Modena. Ho was afterwards 

 president of the Italian Society, and died at Verona in August 1816. 

 (Lalande, 'Bibliog. Astron.' p. 699.) 



Cagnoli wrote a work on trigonometry, first published at Verona in 

 Italian (1786), and translated into French by M. Chompre". The 

 second edition of the translation bears Paris, 1808. Besides this ha 



