Dictionary_. It
was soon adopted (as a title of honour) by the king's party, who in
return applied Roundhead to their opponents, and at the Restoration the
court party preserved the name, which survived till the rise of the term
Tory (see WHIG AND TORY). The term "cavalier" has been adopted from the
French as a term in fortification for a work of great command
constructed in the interior of a fort, bastion or other defence, so as
to fire over the main parapet without interfering with the fire of the
latter. A greater volume of fire can thus be obtained, but the great
height of the cavalier makes it an easy target for a besieger's guns.

CAVALIERE, EMILIO DEL, 16th-century Italian musical composer, was born
in Rome about 1550 of a noble family. He held a post at the court of
Ferdinand I. of Tuscany from 1588 to 1597, and during his residence at
Florence was on terms of intimacy with J. Peri, O. Rinuccini, G. Caccini
and the rest of the Bardi circle. In 1597 he returned to Rome, and
became connected with the Congregation of the Oratory founded by St
Philip Neri. Here in 1600 was performed Cavaliere's contribution to the
musical reformation initiated by his circle of friends in Florence--_La
Rappresentazione di Anima e di Corpo_, a sacred drama, which is regarded
as the first example of what is now called oratorio. It is generally
supposed that he was no longer living when the work was performed, but
some authorities assign 1602 as the date of his death.

Cavaliere's style is more facile than that of Peri and Caccini, but he
is inferior to them in depth of musical expression. He is, however,
important as being the first to apply the new monodic style to sacred
music, and as the founder of the Roman school of the 17th century which
included Mazzocchi, Carissimi and Alessandro Scarlatti.

See also H. Goldschmidt, _Studien zur Geschichte der italienischen
Oper im 17. Jahrhundert_, Band i.

CAVALLI, FRANCESCO (1599?-1676), Italian musical composer, was born at
Crema in 1599 or 1600. His real name was Pier Francesco Caletti-Bruni,
but he is better known by that of Cavalli, the name of his patron, a
Venetian nobleman. He became a singer at St Mark's in Venice in 1617,
second organist in 1639, first organist in 1665, and in 1668 _maestro di
cappella_. He is, however, chiefly important for his operas. He began to
write for the stage in 1639 (_Le Nozze di Teti e di Peleo_), and soon
established so great a reputa