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CILICIA 



CIMON 



probably to be associated with the predominance of 

 Chitin (q.v. ). In many cases, normal, pathological, 

 and artificial cilia may sink down into less motile 

 amreboid processes. A single lash with an un- 

 dulating movement is distinguished as &flagellum ; 

 and Ray Lankester emphasises the useful distinc- 

 tion between a flagellum such as that of a bac- 

 terium, or the tail of a spermatozoon, which acts 

 ' like a tadpole's tail ' and drives the cell before it, 

 and the motive process of a flagellate Infusorian 

 which carries the cell behind it. See CELL. 



4 ilirin. an ancient division of Asia Minor, now 

 included in the Turkish province of Adana, which 

 lay between the Taurus range and the Cilician Sea, 

 while the Amanus range separated it from Syria. 

 The eastern portion of Cilicia was fertile in grain, 

 wine, &c. ; the western and more mountainous por- 

 tion furnished inexhaustible supplies of timber to 

 the ancients. The pass called by the Turks Golek 

 Boghaz (anciently Pylce Cilicice) is that by which 

 Alexander the Great entered Cilicia. In early ages 

 Cilicia was ruled by its own kings, the people, who 

 were probably akin to Syrians and Phoenicians, 

 being notorious pirates. The country fell succes- 

 sively under Persian, Macedonian, and Syrian rule, 

 and was made a Roman province by Pompey in 

 67 B.C. See ASIA MINOR. 



4 iiiialMi V. GIOVANNI, the first of the restorers 

 of the art of painting in Italy, which had fallen 

 into neglect during the barbarism of the dark ages, 

 was born at Florence in 1240. At this time the 

 fine arts were practised in Italy chiefly by Byzan- 

 tines, though there were such native artists as 

 Guido of Siena and Giunto of Pisa ; and painting 

 had degenerated into a worn-out mechanical conven- 

 tionalism. Cimabue at first adopted traditional 

 forms, but he soon turned to nature, painting a St 

 Francis from the living model, 'a new thing in 

 these times,' as Vasari tells us, infusing life and 

 individuality into the worn-out types of his pre- 

 decessors, and leading the way to the naturalism 

 of the works of his great pupil Giotto (q.v.). In 

 the stiff forms of his draperies he made little pro- 

 gress upon former practice, but he softened his 

 outlines, improved his flesh-tints, and gave pro- 

 jection and a sense of rotundity to his forms. Two 

 remarkable pictures of the Madonna by Cimabue 

 are still preserved in Florence one in the Academy ; 

 the other, displaying a more purely original genius, 

 in the church of Santa Maria Novella. It is said 

 that this latter work in the time of Cimabue was 

 admired as a miracle of art, and was carried to the 

 church in a sort of triumphal procession. It is the 

 first great production of the Florentine school which 

 culminated in Michael Angelo, Raphael, and 

 Leonardo. Cimabue executed several important 

 frescoes in the south transept of the lower church 

 of San Francesco at Assisi, and in the north tran- 

 sept of the upper church there; and during his 

 later years he was appointed capo maestro of the 

 mosaics of the Duomo of Pisa, his works in this 

 method ranking as the finest of the period. His 

 mosaic of Christ in glory in the apse was probably 

 his last Avork ; and his easel-picture of a Madonna 

 and Child in the Louvre was executed for San Fran- 

 cesco at Pisa. He died about 1302. 



Cimarosa, DOMENICO, an Italian composer of 

 operas, was born either at A versa, 17th December 

 1749, or more probably at Naples in 1755. He 

 was certainly educated at Naples, in music under 

 Sacchini, and in the conservatory of Loretto. His 

 first pieces were the Sacrificio di Abramo and the 

 Olympiade. When barely twenty-two he had 

 achieved a reputation in all the leading Italian 

 theatres. He was then called to St Petersburg as 

 composer to the Empress Catharine II. , where he 

 resided four years. Afterwards he lived at various 



German courts ; thence he proceeded to Vienna, 

 where he became imperial kapellmeister ; and finally 

 he returned to Italy. At Naples, his comic opera, 

 II Matrimonio Segreto, composed at Vienna, 1791, 

 was repeated seventy times in succession. Cima- 

 rosa died at Venice, llth January 1801. His comie 

 operas are remarkable for their novelty, spirit, 

 whimsicality, and liveliness of idea, as well as for 

 their great knowledge of stage-effect. 



Cimbri, or KIMBRI, a people who issued from 

 the north of Germany in conjunction with the 

 Teutones, and first came into hostile contact with 

 the Romans in the province of Noricum ( Carinthia 

 and Carniola) in 113 B.C. They were victorious in 

 several great engagements, and were only prevented 

 from devastating Italy by a terrible defeat they 

 suffered from Marius on the Raudii Campi, near 

 Verona, or, according to others, near Vercelli, in 

 August 101 B.C. They fought with desperate 

 courage, and when the battle was lost, their women 

 killed themselves and their children. It is not 

 till long afterwards, when the Romans themselves- 

 penetrated into Germany, that the name of the 

 Cimbri again appears. Caesar represents the Adu- 

 atici of Belgium as the descendants of the Cimbri 

 and Teutones. Tacitus speaks of a people bearing 

 the name of Cimbri, few in number, but of great 

 reputation, that sent ambassadors to Augustus. 

 This people lived in the extreme north of Germany, 

 on the borders of the ocean ; according to Pliny and 

 Ptolemy, at the extremity of the peninsula called 

 from them the Cimbric Chersonese, now Jutland. 

 The ethnology of the Cimbri is doubtful. Greek 

 writers associated them groundlessly with the 

 Cimmerians ; Sallust calls them Gauls ; Caesar, 

 Tacitus, Plutarch, and most moderns look upon 

 them as Germans. Some, however, have main- 

 tained that they were Celtic, and have tried to- 

 fortify their argument by a desperate analogy with 

 the name Cymry. 



Cimex. See BUG. 



Cimmerians, or CIMMERII, in Homer, a. 

 legendary people dwelling ' beyond the ocean- 

 stream, where the sun never shines, and perpetual 

 darkness reigns.' The name was also applied to a. 

 fabulous people who dwelt in caves between 

 Baise and Cumae. Hence the common phrase, 

 'Cimmerian darkness.' The historic Cimmerii 

 were a people whose country lay between the 

 Borysthenes (Dnieper) and the Tanais (Don), in- 

 cluding also the Tauric Chersonesus (Crimea). 

 The Cimmerian Bosporus (Strait of Yenikale) 

 derived its name from them. Being driven out by 

 the Scythians, they migrated to Asia Minor, dwelt 

 there for some time, plundered Sardis, failed in an 

 attempt upon Miletus, and were finally routed and 

 expelled by the Lydian king Alyattes, some time 

 after 617 B.C. 



Cimolite. See FULLERS' EARTH. 



CilUOIl, an Athenian commander, was the son 

 of the great Miltiades, the conqueror at Marathon. 

 Being unable to pay the fine of 50 talents from 

 which his father escaped by dying, he was kept 

 in prison until the fine was paid by the wealthy 

 Callias who had married his sister. Young Cimon. 

 enjoyed the patronage of Aristides, and soon dis- 

 tinguished himself in the patriotic struggle against 

 the Persians. In conjunction with Aristides he 

 was placed over the Athenian contingent to the 

 allied fleet, which, under the supreme command of 

 the Spartan Pausanias, continued the war against 

 the Persians (477 B.C.). He effected the important 

 conquest of Eion, a town on the river Strymon, 

 then garrisoned by the Persians. His greatest 

 exploit was his encounter with a Persian fleet of 

 350 ships at the river Eurymedon (466), when he 

 destroyed or captured 300, and defeated the land- 



