St. John Evangelist, and the Magdalen. Painted in 1562-3. Much injured and repainted.—C. & C., Titian, ii. 328.
Subject treated also by Vincenzo Foppa the elder, Bergamo Gallery; Jacopo degli Avanzii, Palazzo Colonna, Rome, Bologna Gallery; Albrecht Altdorfer, Augsburg Gallery, Nuremberg Gallery; Hans Holbein, the elder, Augsburg Gallery; Pietro Perugino, Villa Albani, Rome; Albrecht Dürer, Dresden Gallery; Francesco Francia, Bologna Gallery, Louvre; Francesco Bonsignori, Verona Gallery; Luca Signorelli, Florence Academy; Alesso Baldovinetti, Florence Academy; Filippo Lippi, Städel Institute, Frankfort; Alonso Cano, Academy of S. Fernando, Madrid; Giacomo Cavedone, Galleria Estense, Modena; Pierre Subleyras, Brera, Milan; Bernardo Gatti, Naples Museum; Rubens, Munich Gallery; Cornelis Engelbrechtsen, Munich Gallery; Master of Lyversburg Passion, Museum Wallraf-Richartz, Cologne; Lucas Cranach, Munich Gallery; Leandro Bassano, Berlin Museum; Sacchi di Pavia, Berlin Museum; Michael Wohlgemuth, Munich Gallery, Nuremberg Gallery; Goya y Lucientes, Madrid Museum; Andrea da Solario, Louvre; Martin van Heemskerck, Hermitage, St. Petersburg; Marten de Vos, Uffizi, Florence, Antwerp Museum; Garofolo, Brera, Milan; Gabriel Max, Mr. Lehmann, Prague; and many others.
CRUIKSHANK, GEORGE, born in London,
Sept. 27, 1792, died there, Feb. 1, 1878.
Genre painter and illustrator, son and pupil
of Isaac C., caricaturist (1756-1811); began
as a book illustrator and etcher, designing
many illustrations for Egan's Life in London,
Grimm's Fairy Tales, Dickens's earlier works,
and numerous periodicals. Also published
several series of prints, such as Points of
Humour, Morning in Bow Street, The Bottle,
Sunday in London, etc. In his later years
he exhibited works in oil at the British Institute
and the Royal Academy, among them
being Tam O'Shanter, Titania and Bottom,
Cinderella, and the Worship of Bacchus
(H. 7 ft. 8 in. × 13 ft. 3 in.), the last a composition
of several hundred small figures,
now in the National Gallery. Robert Isaac
C. (died 1856), designer in water colours,
was his brother.—Cat. Nat. Gal.; Redgrave;
C. Carr, Essays, 223; Portfolio (1872),
77.
CRUSADERS BEFORE JERUSALEM,
Wilhelm von Kaulbach, New Museum, Berlin;
mural painting, staircase. On a hill
before Jerusalem, which is seen in background,
a group of soldiers, bishops and
priests; on second hill, to right, Godfrey de
Bouillon holding up a crown before army of
Crusaders, among whom are seen Bohemond
and Tancred; above, in clouds, Christ and
the Virgin, with martyrs; in foreground,
Peter of Amiens praying; behind him, penitents,
minstrels, etc.
CTESICLES, painter, of Asia Minor,
about 300 B.C. Failing to gain the favour
of Queen Stratonice, he revenged himself
by painting her with a fisherman, her reputed
lover, put the picture on exhibition
in Ephesus and made his escape by sea.
But the Queen considered the likenesses so
excellent that she forbade the removal of
the painting.—Pliny, xxxv. 40 [140].
CTESIDEMUS, Greek painter, master of
Antiphilus, about 376 B.C. Pliny mentions
among his works the Capture of Œchalia
and Laodamia.—Pliny, xxxv. 40 [138].
CTESILOCHUS, Greek painter, pupil of
Apelles, famous for a burlesque picture of
the birth of Dionysus from the thigh of
Zeus.—Pliny, xxxv. 40. Perhaps identical
with Ctesiochus, brother of Apelles, mentioned
by Suidas (Apelles, V.).
CUEVAS, PEDRO DE LAS, born in
Madrid in 1568, died there in 1635. Spanish
school; a mediocre painter, best known
through the fame of his scholars, among
whom were Juan Carreño, Antonio Pareda,
Jose Leonardo, and Francisco Camilo. His
son Eugenio, another pupil, was a painter of
no great merit. Pedro is said to have died
of grief because he was not appointed
painter to the King on the death of Gonzales.—Stirling,
i. 435.
