CASSOWARY (Casuarius), a genus of struthious birds, only inferior in size to the emeu and ostrich, and, according to Sir R. Owen, approximating more closely than any other living birds to the extinct moas of New Zealand. The species are all characterized by short rudimentary wings, bearing four or five barbless shafts, a few inches long, and apparently useless for purposes of flight, of running, or of defence; and by loosely webbed feathers, short on the neck, but of great length on the rump and back, whence they descend over the body forming a thick hair-like covering. They possess stout limbs, with which they kick in front, and have the inner toe armed with a long powerful claw. The common cassowary (Casuarius galeatus) stands 5 ft. high, and has a horny, helmet-like protuberance on the crown of its head; the front of the neck is naked and provided with two brightly-coloured wattles. It is a native of the Island of Ceram, where it is said to live in pairs, feeding on fruits and herbs, and occasionally on small animals. The mooruk, or Bennett’s cassowary (Casuarius Bennettii), is a shorter and more robust bird, approaching in the thickness of its legs to the moas. It differs further from the preceding species in having its head crowned with a horny plate instead of a helmet. It has only been found in New Britain, where the natives are said to regard it with some degree of veneration. When captured by them shortly after being hatched, and reared by the hand, it soon becomes tame and familiar; all the specimens which have reached Europe alive have been thus domesticated by the natives. The adult bird in the wild state is exceedingly shy and difficult of approach, and, owing to its great fleetness and strength, is rarely if ever caught. It eats voraciously, and, like the ostrich, will swallow whatever comes in its way. (See [Emeu].)
CAST (from the verb meaning “to throw”; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; “cast” in Middle Eng. took the place of the A.S. weorpan, cf. Ger. werfen), a throw, or that which is thrown, or that into which something is thrown. From these three meanings come the main uses of the word; for the throwing of dice, with the figurative sense of a chance or opportunity, as in “at the last cast”; for the throwing of a fisherman’s line in fly-fishing; for hounds spreading out in search of a lost scent; or, with the further meaning of a twisted throw or turn, for a slight squint in the eye. “Cast” is applied to a measure of herrings or other fish, being the amount taken in two hands to be thrown into a vessel, and similarly to a potter’s measure for a certain quantity of clay; in fishing, to the casting line of gut with fly attached; to the hard refuse thrown out of the crop of a bird of prey, and to the coils of earth thrown up by earth-worms. From the old method, in making calculations, of using counters, which were thus “thrown” up into a heap, is probably derived the meaning of “cast” for the “casting up” of figures in an account. Further, the word is found for a mould for the casting of metals, and more particularly for the copy of an original statue or relief taken from a mould; similarly, of fossils, for the mineral filling of the empty mould left by the organism. Special uses of the word are also found in the theatrical term for the assignment of particular parts to the actors and actresses in a play, and in the many figurative senses of a type or stamp, as of features or characters.
CASTAGNO, ANDREA DEL (1390-1457), Italian painter of the Florentine school, was born in 1390, probably at Castagno, in the district of Mugello, and died in August 1457. He imitated Masaccio and the naturalists of his time in boldness of attitude, but was deficient in grace and colouring. His name was for about four centuries burdened with the heinous charge of murder; it was said that he treacherously assassinated his colleague, Domenico Veneziano, in order to monopolize the then recent secret of oil painting as practised in Flanders by the Van Eycks. This charge has, however, been proved to be an untruth; Domenico died four years after Andrea. The latter is commonly called “Andrea (or Andreino) degl’ Impiccati” (of the Hanged Men); this was in consequence of his being commissioned in 1435 to paint, in the Palazzo del Podestà in Florence, the fallen leaders of the Peruzzi and Albizzi—not (as currently said) the men of the Pazzi conspiracy, an event which did not occur until 1478, long after this painter’s death. One of his principal works now extant (most of them have perished) is the equestrian figure of Nicola di Tolentino, in the cathedral of Florence.
CASTALIA, or Fons Castalius, a celebrated fountain in Greece, now called the Fountain of St John, which rises in a chasm of Mount Parnassus, in the neighbourhood of Delphi. It was sacred to Apollo and the Muses, and its water was used in the religious purifications of the “Pythian Pilgrims.” From its connexion with the Muses it is sometimes referred to by late Greek writers (e.g. Lucian, Jup. Trag. 30) and Latin poets (e.g. Ovid, Am. i. 15. 36) as a source of inspiration, and this has passed into a commonplace of modern literature. According to some authorities the nymph Castalia was the daughter of Achelous; according to others the water of the spring was derived from the Boeotian Cephissus.