CIGAR CIMB1U. 



239 



cider-brandy, added to a barrel, is likewise recom- 

 mended, to be added as soon as the vinous fermenta- 

 tion is completed. 



CIGAR. See Tobacco, and Cuba. 



CIGNANI, CARLO ; a celebrated painter, born at 

 Bologna in 1628; he was a pupil of Aibano. He 

 frequently commenced new works, but was seldom 

 sufficiently satisfied with his productions to consider 

 them as finished. His Flight to Egypt was the work 

 of six months. He knew how to compose, like the 

 Caracci, and to distribute his figures in such a way 

 that his paintings appear larger than they really 

 are. His finest fresco paintings are at St Michael in 

 Bosco, at Bologna, in ovals supported by angels, and 

 in the saloon of the Farnese palace, where he repre- 

 sented Francis I. of France touching for the king's- 

 evil. At Parma, in the ducal garden, he painted 

 several pieces expressive of the power of love, which 

 lose nothing at the side of the paintings of Augus- 

 tino Caracci. In his painting of the Assumption, at 

 Forli, he has imitated the beautiful Michael of Guido 

 '.n the cupola at Ravenna, and other fine conceptions 

 of this painter ; but in his other pieces he made Cor- 

 reggio his model. He does not so often introduce 

 fore-shortenings as the Lombards; and, in his out- 

 lines and drapery, he possesses a finish peculiar to 

 himself. His pencil is powerful, and his colouring 

 lively. Clement XI. conferred on him several marks 

 of distinction. Being commissioned to paint the 

 cupola of the church of Madonna del Fuoco, at Forli, 

 he repaired to Forli with his numerous pupils, where 

 he died in 1719. His paintings have been engraved 

 by various artists. Of his pupils, the most distinguish- 

 ed were Crespi, Franceschini, Quaini, count Felix 

 Cignani, his son, and count Paul Cignani, his ne- 

 phew. 



CILICIA.in ancient geography; the region be- 

 tween Pamphylia and Syria, lying S. of mount Taurus. 

 The inhabitants of the coasts were formidable as 

 pirates, and even disturbed the yEgaean and Ionian 

 seas. The inhabitants of the northern portion lived 

 in part a nomadic life ; those in the east were devot- 

 ed to agriculture. Alexander made Cilicia a Mace- 

 donian province ; it then passed to the Syrians. Pom- 

 pey subdued its piratical inhabitants. It was govern- 

 ed by kings under some of the Roman emperors, 

 but was made a Roman province in the time of Ves- 

 pasian. 



CILICIUM ; originally, a coarse, rough garment 

 of goat's hair, made in Oilicia, the usual habit of the 

 soldiers and seamen of that country. It has since 

 been used to denote a garment of penance, made of 

 horse-hair, which monks and hermits wear. This 

 name is also given, in the convents, to a belt of wire, 

 with sharp points, which press upon the body, and 

 are intended for penance. 



CIMABUE, GIOVANNI, one of the restorers of 

 the art of painting in the middle ages, born at Flo- 

 rence in 1240, renounced his studies to follow his in- 

 clination for painting. Two Greek artists, who were 

 invited to Florence by the senate, to paint a chapel in 

 the church of Santa Maria Novella, were his first 

 masters. Although these artists handled the pencil 

 awkwardly, they however taught him, according to 

 ancient tradition, the proportions which the Greek 

 artists had observed in their imitations of the human 

 figure. Attentive to tlieir instructions, Cimabue 

 studied principally the fine antique statues. He was 

 the first to point out to succeeding painters the ele- 

 ments of the beau ideal, the memory of which had 

 been extinguished during several centimes of disorder, 

 it is true the paintings of Cimabue do not exhibit 

 that harmonious distribution of light and shade 

 which forms the chiaro oscuro. His colouring is 

 dry, flat, and cold: the outlines of his figures in- 



tersect each other on a blue, green, or yellow 

 ground, according to the effect which he had in 

 view. He had no idea of linear and aerial perspec- 

 tive. His paintings are, properly speaking, only 

 monochromes. But these faults, which are to be at- 

 tributed to the infancy of the art, are compensated 

 for by beauties of a high order a grand style, accu- 

 rate drawing, natural expression, noble grouping, and 

 a fine disposition of his drapery. His best paintings 

 are in the church of Santa Maria Novello at Flo- 

 rence, and in the Sacro Convento, at Assisi. He is 

 said to have died in 1300. He may be considered 

 the link between the ancient and modern schools of 

 painting. Cimabue was equally successful in paint- 

 ing on glass and in fresco. He was also a distin- 

 guished architect. He prepared the way for Mas- 

 sacio, Pietro, Perugino, Giovanni Bellino, Leonardo 

 da Vinci, Titian, Michael Angelo, and Raphael. See 

 Italian Art. 



CIMAROSA, DOMENICO, a composer, born at 

 Naples, in 1755, received his first musical instruction 

 from Sacchini, entered the conversatory of Loretto, 

 where he imbibed the principles of the school ofDu- 

 rante, and studied with great assiduity. He soon 

 displayed his superiority in the Sacrificio di Abramo, 

 the Olimpiade, and other compositions. At the age 

 of twenty-five he had already gained the applause 

 of the principal theatres of Italy. He was invited to 

 St Petersburg (where he remained four years) and 

 to several German courts to compose heroic and 

 comic operas. In the latter, he particularly distin- 

 guished himself by the novelty, warmth, humour, and 

 liveliness of his ideas, and by a thorough acquaint- 

 ance with stage effect. Among his 120 operas, 

 the most celebrated are, Penelope, Gli Orazj e Curi- 

 azj, and Artaserse, among the opere serie ; and among 

 the opere biiffe, L Itaiiano in Londra, L Amor costan- 

 te, II pittore Carigino,ai\d many others. His comic 

 opera II Matrimonio segreto excited general enthu- 

 siasm, and received the signal honour of leing per- 

 formed twice on the same evening, at the desire of 

 the emperor Leopold. From Vienna he went to Na- 

 ples, and became involved there in the revolutionary 

 commotions. He died at Venice, in 1801, from the 

 effects of the ill-treatment which he had been sub- 

 jected to in prison. His bust, by Canova, was plac- 

 ed in tile Pantheon at Rome, in 1816, at the side of 

 those of Sacchiiii and Paesiello. 



CIMBRI, or CIMMERIANS, were the first Ger- 

 man tribe known to the Greeks. Their acquaint- 

 ance with them was acquired soon after the Trojan 

 war, when the Cimbri sallied forth out of their 

 dwellings in Tauris and European Tartary, and en- 

 tered Asia Minor. At that time, the Scythians were 

 forced to give way to the Massagetae, and retire 

 from the east of the Caspian sea towards the coun- 

 try of the Cimbri to the west. This tribe now split 

 into parties on the question whether they should 

 comply with the wishes of their kings, and oppose 

 the strangers with arms, or, as another party advis- 

 ed, emigrate. The dispute was decided by a battle, 

 in which the royal party was overcome. After 

 the dead had been buried on the shores of the Ty- 

 ras (Dniester), where Herodotus saw their sepul- 

 chres, the vanquished party fled to the north and 

 east side of the Pontus, and entered Asia, where they 

 became known to the Greeks ; the other party with- 

 drew to the Vistula, and even beyond it. The 

 Greeks retained no knowledge of these Cimmerians 

 but the tradition that they had proceeded to the 

 north-west. On this account, the Greeks, when 

 they reached the north-western ocean, considered the 

 nations of that quarter Cimmerians ; and, for the same 

 reason, the name of Cimbria or Cimmeria was given to 

 the Danish peninsula. Homer was acquainted with 



