Page:Bryan's dictionary of painters and engravers, volume 1.djvu/392

 Baptism of Christ by St. John ; ' and in the cathe- dral at Bergamo, SS. Domno, Domneone, and Eusebia. He also painted several pictures for the churches in Brescia. He died at Ferrara in 1722.

CARPIONI, Caelo, the son of Giulio Carpioni, was born about the middle of the 17th century. He was educated by his father, after whose style he painted a few pictures, but he is better known by his portraits. In the Council-chamber at Vi- cenza and in the convent of the Servites at Monte Berico there are some groups of portraits of magis- trates, which show a truthful resemblance, and an ingenious and elevated imagination.

CARPIONI, Giulio, was born at Venice in 1611. He was a scholar of Alessandro Varotari, called Paduanino, but followed more the style of Can- tarini. He was superior to his fellow-student Maffei in vigour, expression, and invention. He painted history and bacchanals, and also sacred subjects of a small size, many of which are to be seen in the churches in the Venetian states. His fabulous subjects are placed with distinction in the private collections of his country, and are touched with a spirit, and coloured with a beauty of tint- ing, which his master would not have disavowed. Paintings by him may be seen in the Galleries of Augsburg, Dresden, Vienna, Modena, and Florence. He was also an etcher ; his best plates being ' St. Anthony of Padua,' 'Christ on the Mount of Olives,' 'The Virgin reading,' and 'The Virgin with the Rosary.' He died at Verona in 1674.

CARR, Johnson, a pupil of Wilson, was born in 1743. He gave promise of being a good landscape painter, when he died in 1765. His chalk drawings possess considerable merit.

CARR, R, practised as an etcher, in imitation of Hollar, in England, towards the close of the seven- teenth century.

CARR, Rev. William Holwell, who was born in 1750, and died in 1830, practised landscape painting as an amateur ; he exhibited occasion- ally at the Royal Academy from 1797 till 1820. He bequeathed thirty-three paintings to the National Gallery, including his own portrait by Jackson, and a tine picture by Luini.

CARRACGI FAMILY. Antonio (tailor). Lodovico (15m — 1619). Paolo. Agostino (1667—1602). Annibale (1560—1609). Giorannl Antonio. Antonio Marziale (1683— 161S). Francesco (1595—1622).

CARRACCI, Agostino, painter, engraver, poet ; the nephew of Lodovico, and the elder brother of Annibale Carracci, was born at Bolognain 1557. He was intended b}- his father for the business of a goldsmith, a profession then nearly connected with the art of engraving, and at the age of fourteen he had engraved some plates in the style of Cornelis Cort, when Lodovico persuaded him to study paint- ing. He became a scholar of Prospero Fontana, and he afterivards studied under Bartolommeo Passerotti. On leaving the school of Passerotti, Agostino, together with his brother Annibale, passed some time at Parma, where they studied with attention the works of Correggio and Parmi- giano. He afterwards went to Venice, where he had an opportunity of perfecting himself in en- graving under Cornelis Cort, by whose instruction he became one of the most distinguished engravers of his country. Excellent as a designer, he fre- quently corrected the defects in the drawing of the pictures he engraved, for which he sometimes re- ceived the thanks, but more usually the reproaches, of the painter. On his return to Bologna, in 1589, stimulated by the reputation Annibale had already acquired, he devoted himself to painting with inde- fatigable assiduity, and, assisted by the instruction of Lodovico, his advancement was such that he was engaged in all the considerable works in which they were then employed in the Magnani and Zampieri palaces. He instructed the scholars in the Academy in the theoretical branches of painting, and also wrote for their edification a sonnet, wherein he tells them what characteristic quality to choose from each of the great masters. It was at this time that he painted for the Certosa at Bologna his famous picture of the ' Communion of St. Jerome,' now in the gallery of that city. It is one of the very few paintings which bear his signature. Annibale being soon after engaged to visit Rome, to paint the Farnese Gallery, he was accompanied by Agostino, whose resources and poetical genius were of the most essential service in the composition of those fabulous subjects to which the unlettered mind of Annibale would have been inadequate.

These aids were not sufficiently appreciated by Annibale, whose vivacious and turbulent disposition produced continual dissensions, and Agostino, after he had executed the ' Triumph of Galatea,' and the ' Cephalus and Aurora.' was obliged to abandon him, and to leave Rome. He went to Parma, where he was employed by Duke Ranuccio to paint the great saloon of the Casino, the finishing of which he did not long survive. He died at Parma, in 1602. The following are the principal works of Agostino Carracci:

Bologna. Fiaaeoteca. The Last CommuDion of St. Jerotae (/tis masto -piece). „ „ The Assumption. Cassel. Gallery. Hagar and Ishmael. London. Xat. Oal. Cephalus and Aurora. „ „ Triumph of Galatea. Both oriffinal cartoons for the frescoes in the Farnese Palace, Some.

Munich. Finaiothek, St. Francis receiving the Stigmata. Vienna. Gallery. St.Francis receiving the Stigmata. „ „ St. Dominic. „ „ Female Portrait. Signed and dated. 1593.

As an engraver, Agostino Carracci is to be ranked among the most celebrated artists of Italy. The correctness of his design is only equalled by the beauty of his execution, and his plates would have nearly reached perfection, if he had paid more attention to the effect of chiaroscuro. They appear to have been executed entirely with the graver, in a bold, free style, nearly resembling that of hia instructor, Cornelis Cort. The expres- sion of his heads is admirable, and his extremities are marked with the greatest care. His plates are very numerous ; they are generally marked with the initials A. C- or AUG. F. or Agos. C, and some- times with his name abbreviated. They are not difficult of recognition. The following are his principal prints :

POHTEAITS A^•D SCBJECTS FEOM HIS OWN DESIGNS. Antonio Carracci, his father ; very scarce. Bust of Cosmo I. with ornamental figures. The Head of a 'Woman ; fine. Portrait of a Lady with a collar of pearls. Giovanni Tommaso Costanzo. Princess Christina of I/)rraine.