Page:Bryan's dictionary of painters and engravers, volume 1.djvu/391

 married Mr. W. H. Carpenter, Keeper of the Prints and Drawings in the British Museum, upon whose death, in 1866, Her Majesty conferred upon her a pension of £100 per annum. She died in London in 1872. Mrs. Carpenter is chiefly known as a painter of portraits, amongst which may be men- tioned those of

Lord Kilcoursie and Lady Sarah de Crespigny, 1812. Lord Folkestone, 1814. Mr. Baring, 1815. Sir Henry Banbury, 1822. Lady Eastnor, 1S25. Lord de Tabley, 1829. Mr. Justice Coleridge, 1830. Lady Denbigh, 1S31. Mrs. Herries, 1832. Lady King, daughter of Lord Byron, 1835. Archbishop Sumner, 1852. Lord John Manners. Dr. Whewell.

Her portraits of Richard Parkes Bonington, the painter, John Gibson, R.A., the sculptor, and Patrick Fraser Tytler, the historian, are in the National Portrait Gallery. She also produced a few fancy subjects, of which there are two ex- amples in the South Kensington Museum — ' Devo- tion ' (a portrait of Anthony Stewart, the miniature painter), exhibited at the British Institution in 1822 ; and ' The Sisters,' portraits of the artist's two daugliter-i, exhibited in 1840.

CARPEXTERO, Johannes Carolus, a Flemish historical painter, bom at Antwerp in 1784, studied under Van den Bosch and Mattheus van Bree. Besides historical pictures, he painted landscapes with cows and sheep, taking Ommeganck for his model. He died at Antwerp in 1823.

CARPENTIERS, Admen, (or CHARrENXiERE,) was a native of Switzerland who settled in England as a portrait painter about 1760, and from that year until 1774 was a frequent exhibitor at the Society of Artists in Spring Gardens. One of his best works is the portrait of Roubilhac, the sculptor, now in the National Portrait Gallerj-, of which there is a good mezzotint by David Martin. He died in London about 1778, at an advanced age.

CARPI, GiBOLAMO DA, was bom at Ferrara in 1501, and was educated under Benvenuto Garofolo. On leaving the scliool of that master, he passed some time at Bologna, where he was much em- ployed in portrait painting. He afterwards visited Parma and Modena, where he was so fascinated with the works of Correggio and Parmigiano, that he applied himself to study and copy them with great assiduity. He is not, however, to be con- sidered only as a copyist. He painted many pictures, of his own composition, for the churches at Ferrara and Bologna. At Ferrara, in the Cathe- dral, are three pictures by him of the Madonna, St. George, and St. Maurice. At the Carmelites is his picture of ' St. Jerome ; ' and in Santa Maria del Vado one of his finest works, representing a 'Miracle wrought by St. Anthony of Padua.' For the church of San Francesco, at Rovigo, he painted a picture of the ' Pentecost ; ' and at Bologna his two most celebrated productions, the ' Adoration of the Magi,' for San Martino Maggiore, and the ' Madonna and Child, with St. Catharine and other Saints,' for San Salvatore. In the two last he displays a mixture of the Roman and the Lombard styles. He also painted for some time in Rome. He died at Ferrara in 1556. The Dresden Gallery possesses a ' Venus and Cupid,' by him.

CARPI, Marco da. See Melosi.

CARPI, Ugo da, a painter and engraver, de- scended from the ancient family of the Counts of Panico, was the tenth child of Count Astolfo da Panico. Tlie year of his birth is uncertain. In the petition to the senate of Venice, in 1516, to grr.nt him protection from piratical imitators of his prints, he is said to be in advanced age, venuto aW eid, smile, which induces Passavant to put the date of his birth, which has been usually stated to have taken place in 1480, back to 1450. He died probably in Rome in 1520.

Vasari styles him a mediocre painter, but great in drawing ; and although there exists an agreement between Carpi and Saccacini to execute an exten- sive work between them, no authentic paintings remain from his hand, his celebrity resting entirely on his wood-engravings, which were executed by successive printings from various blocks of diiferent shades, by which were produced completer effects than those of ordinary woodcuts. This was called chiaroscuro, a name still given to it, and was in fact a simple form of our modern chromo-printing. Carpi claimed in his petition to the Doge and Senate to have been the inventor of the method, but as no example by him exists with a date to compete -n-ith the chiaroscuro issued at Augsburg by Jost de Necker in 1510, and his claim was only made in 1516, he seems to have no certain claim to the inven- tion. The more the subject is investigated, the more certain it seems that all forms of engraving, as of printing, originated in Germany. His works are numerous, and are confused with those of Boldrini. His known works are after Raphael and Parmigiano ; sometimes they are of a large size. As, however, they are not signed, and are identified with diffi- culty, it is not necessary to enumerate many. Descent from the Cross ; after Raphael. St. John m the "Wilderness ; after the same. The Miraculous Draught of Fishes ; after the same. Death of Anania-s ; after the sa/ne. Elymas struck with Blindness ; after the tame. A Sibyl reading, with a Child holding a torch to light her ; after the sa)ne. A rare print, copied by Coriolano as one of a set.

Diogenes; after Parmigiano. SS. Paul and Peter ; very small ; after the same. See ' Di Ugo da Carpi e dei Conti da Panico,' Bologna, 1854, by Gualandi ; Passavant, vol. vi. ; Bartsch, vol. xii. W. B. S.

CARPINONI, DoiiENico, a Bergamese painter, was bom at Clusor.e, in the Valle Seriana, in 1566. He was sent to Venice when young, and became a scholar of the younger Palma. In the early part of his life he was occupied in copying the works of Palma and Bassano ; he aftenvards painted some pictures of his own composition, which, according to Tassi, are vigorously coloured, and tolerably correct in design. In the principal church of Clusone is a picture by him of the ' Birth of St. John the Baptist,' and a ' Descent from the Cross ; ' in the Chiesa di Monesterolo, in the Valle Caval- lina, is a picture of ' The Transfiguration ; ' and at Lovere, in the church of the Padri Osservanti, ' The Adoration of the Magi.' He died in 1658. CARPINONI, Mabziale, the grandson of Do- menico Carpinoni, was bom at Clusone about 1644. According to Tassi, he was taught the first prin- ciples of art by his father, an artist of little note, but afterwards had the advantage of the instruc- tion of his grandfather. He was afterwards sent to Rome for improvement, where he frequented the school of Ciro Ferri. He painted historical sub- jects with no small success, and was employed for the churches of his native town and the vicinity. In the principal church at Clusone is the ' Virgin and Child, with Saints,' by this painter, and ' The