was afterwards Alexander
II. of Russia, who paid a state visit to England that year.

CESARI, GIUSEPPE, called Il Cavaliere d' Arpino (born in or about 1568
and created a "Cavaliere di Cristo" by Pope Clement VIII.), also named
Il Giuseppino, an Italian painter, much encouraged at Rome and
munificently rewarded. His father had been a native of Arpino, but
Giuseppe himself was born in Rome. Cesari is stigmatized by Lanzi as not
less the corrupter of taste in painting than Marino was in 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 (story of Romulus and Remus,
&c.), which occupied him at intervals during forty years, are well
coloured; but he drew the human form ill. His perspective is faulty, his
extremities monotonous, and his chiaroscuro defective. He died in 1640,
at the age of seventy-two, or perhaps of eighty, at Rome. Cesari ranks
as the head of the "Idealists" of his period, as opposed to the
"Naturalists," of whom Michelangelo da Caravaggio was the leading
champion,--the so-called "idealism" consisting more in reckless
facility, and disregard of the common facts and common-sense of nature,
than in anything to which so lofty a name could be properly accorded. He
was a man of touchy and irascible character, and rose from penury to the
height of opulence. His brother Bernardino assisted in many of his
works.

CESAROTTI, MELCHIORE (1730-1808), Italian poet, was born at Padua in
1730, of a noble but impoverished family. At the university of his
native place his literary progress procured for him at a very early age
the chair of rhetoric, and in 1768 the professorship of Greek and
Hebrew. On the invasion of Italy by the French, he gave his pen to their
cause, received a pension, and was made knight of the iron crown by
Napoleon I., to whom, in consequence, he addressed a bombastic and
extravagantly flattering poem called _Pronea_. Cesarotti is best known
as the translator of Homer and Ossian. Much praise cannot be given to
his version of the _Iliad_, for he has not scrupled to add, omit and
modernize. Ossian, which he held to be the finest of poems, he has, on
the other hand, considerably improved in translation; and the appearance
of his version attracted much attention in Italy and France, and raised
up many imitators of the Ossianic style. Cesarotti also produced