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poetry; indeed, another of the nicknames of Cesari is " Il Marino de' Pittori " (the pictorial Marino). There was spirit in Cesari's heads of men and horses, and his frescoes in the Capitol (See also:

story of See also:

ROMULUS

Romulus and Remus, &c.), which occupied him at intervals during See also:

FORTY

forty years, are well coloured; but he See also:

drew the human See also:

FORM (Lat. forma)

form See also:

ill. His See also:

PERSPECTIVE (Lat. peespicere, to see through)

perspective is faulty, his extremities monotonous, and his See also:

CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro defective. He died in 1640, at the See also:

AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of seventy-two, or perhaps of eighty, at Rome. Cesari ranks as the See also:

head of the " Idealists " of his See also:

period, as opposed to the " Naturalists," of whom See also:

MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo da See also:

Caravaggio was the leading See also:

CHAMPION (Fr. champion, Late Lat. campio from campus; a field or open space, i.e. one " who takes the field " or fights; cf. Ger. Kampf, battle, and Kampfer, fighter)

champion, —the so-called " See also:

IDEALISM (from Gr. i5Ea, archetype or model, through been urged of the truth of its point of view is the persistency Fr. idealisme)

idealism " consisting more in reckless facility, and disregard of the See also:

COMMON

common facts and common-sense of nature, than in anything to which so lofty a name could be properly accorded. He was a See also:

man of touchy and irascible See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, and See also:

rose from penury to the height of opulence. His See also:

BROTHER

brother Bernardino assisted in many of his See also:

WORKS

works. ' CESAROTTI, MELCHIORE (173o–18o8), Italian poet, was born at See also:

PADUA (Lat. Patavium ; Ital. Padova)

Padua in 1730, of a See also:

NOBLE, SIR ANDREW (1832- )

noble but impoverished See also:

FAMILY

family. At the university of his native See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place his See also:

LITERARY

literary progress procured for him at a very See also:

early age the See also:

CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair of See also:

RHETORIC (Gr. psroperctj TEXvq, the art of the orator)

rhetoric, and in 1768 the professorship of See also:

Greek and See also:

HEBREW

Hebrew. On the invasion of See also:

Italy by the See also:

French, he gave his See also:

PEN (Lat. penna, a feather, pen)

pen to their cause, received a See also:

PENSION (Lat. pensio, a payment, from pendere, to weigh, to pay)

pension, and was made See also:

knight of the See also:

IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron See also:

CROWN

crown by See also:

NAPOLEON

Napoleon I., to whom, in consequence, he addressed a bombastic and extravagantly flattering poem called Pronea.

Cesarotti is best known as the translator of See also:

HOMER, WINSLOW (1836-191o)

Homer and See also:

OSSIAN

Ossian. Much praise cannot be given to his version of the Iliad, for he has not scrupled to add, omit 767 and modernize. Ossian, which he held to be the finest of poems, he has, on the other See also:

hand, considerably improved in See also:

TRANSLATION

translation; and the See also:

APPEARANCE (from Lat. apparere, to appear)

appearance of. his version attracted much See also:

ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention in Italy and See also:

France, and raised up many imitators of the Ossianic See also:

style. Cesarotti also produced a number of works in See also:

PROSE

prose, including a Course of Greek Literature, and essays On the Origin and Progress of the Poetic See also:

Art, On the See also:

SOURCES

Sources of the See also:

PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

Pleasure derived from Tragedy, On the See also:

PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

Philosophy of See also:

LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

Language and On the Philosophy of Taste, the last being a See also:

defence of his own See also:

GREAT

great eccentricities in See also:

criticism. His weakness was a straining after novelty. His style is forcible, but full of Gallicisms. A See also:

COMPLETE

complete edition of his works, in 42 vols. 8vo, began to appear at See also:

Pisa in 1800, and was completed in 1813, after his See also:

DEATH

death. See See also:

MEMOIRS

Memoirs, by See also:

Barbieri (Padua, 1810), and Un Filosofo delle lettere, by Alemanni (See also:

TURIN

Turin, 1894).

End of Article: CESARI, GIUSEPPE

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