York; Ophelia (1883), Calvin S. Brice, New York.—Larousse; Claretie, Peintres (1874), 170; Du Camp, Les B.-Arts, 32; Bruno Meyer, Stud. u. Krit., 75; Meyer, Gesch., 598.
CABANEL, PIERRE, born at Montpellier;
contemporary. History and portrait
painter; son and pupil of Alexander Cabanel.
Medal, 3d class, 1873. Works:
Flight of Nero (1873); Death of Abel (1874);
Nymph surprised by Satyr (1875); Shipwreck
on Coast of Brittany (1877); Mowers (1878);
Italians in Paris (1879); Prodigal Son
(1880); Young Neapolitan Girl (1881); Bettina
(1882); Chiffonniers (1884).
CABAT, LOUIS, born in Paris, Dec. 24,
1812. Landscape painter, pupil of Camille
Flers; first exhibited in 1833. Medals:
2d class, 1834; 3d class, 1867; L. of Honour,
1843; Officer, 1855; Member of Institute,
1867; Director French Academy at
Rome, 1879. Works: View of the Bouzanne,
Mill of Dompierre, Tavern of Montsouris
(1833); Garden of Beaujon, Pond at Ville
d'Avray, Woods of Fontenay-aux-Roses,
Village of Sarasin, Farmhouse in Calvados
(1834); Wolf's Gorge, Tavern on the Bouzanne,
Festival of Virgin on the Water,
Bird Catcher (1835); Plain of Arques
(1836); Forest of Fontainebleau (1837);
Road in Valley of Narni, View of Lake
Nemi, Good Samaritan, Young Tobias
(1840); Lake Bolsena, Pond of Pecquigny
(1848); Autumn Evening (1852); The Arques,
Hunting Boars, Sunset (1853); Ravine
of Villeroy (1855); The Seine, Ile de Croissy
(1856); Pond in the Woods (1859); Lake
Nemi, Spring in the Woods (1864); Solitude
(1865); Huntresses, Woods of Chanteloube
(1867); After the Shower (1869);
Stormy Weather (1872); Pond, Sunset
(1873); Morning after Shower, Morning in
Park of Magnet (1877).—Larousse; Claretie,
Peintres (1874), 294; Meyer, Gesch.,
743.
CADORE, BATTLE OF, Titian, formerly
in Hall of Great Council, Palazzo Ducale,
Venice; canvas. Battle at a bridge spanning
a stream; in sight of the Castle of Cadore,
where the troops of the Emperor
Maximilian were defeated by the Venetians.
Painted in 1537; burned in the fire of
1577, and known only through a contemporary
print by Fontana, a sketch on canvas
attributed to Titian, in the Uffizi, and a
drawing of the principal group by Rubens.—Vasari,
ed. Mil., vii. 439; C. & C., Titian,
ii. 5; Gilbert, Cadore, 154.
CÆSAR, DEATH OF, Vincenzo Camuccini,
Palazzo Reale, Naples; canvas. Attacked
by the conspirators in the Senate House,
Cæsar, stretching his left hand toward Brutus,
is falling at the base of Pompey's
statue; at right, affrighted senators starting
from their seats.—Réveil, xiv. 942.
By J. D. Court, Louvre, Paris; canvas, H. 14 ft. × 17 ft. Mark Antony haranguing the populace over the dead body of Cæsar; in foreground Brutus and Cassius. Salon, 1827. Formerly in Luxembourg.—Cat. Louvre.
By Jean Leon Gérôme, J. J. Astor, New York; canvas, H. 3 ft. × 5 ft. The dead body of Cæsar lying at the foot of Pompey's statue in the Senate Chamber, the seats of which have just been vacated by the flying Senators, one only remaining in his place as if in silent protest; in the background, the conspirators brandishing their daggers as they repeat the oath which binds them. Painted in 1867, bought by John Taylor Johnston; at his sale (1876), $8000. Life-size study of dead Cæsar (H. 7 ft. 2 in. × 10 ft. 5 in.), in Corcoran Gallery, Washington. Engraved by J. C. Armytage in Art Journal (1874), 68; Art Treasures of America, ii. 3.
By Karl von Piloty, Munich Gallery. Brutus kneels and presents the petition, while the other conspirators crowd around Cæsar, who is seated in the Senate Chamber at the base of Pompey's statue; one, standing behind, is about to strike with his dagger. Engraved by Alex. Becker. Small study in colour, D. H. McAlpine, New York.
