Page:Bryan's dictionary of painters and engravers, volume 1.djvu/402

 painters. On the death of Frederick he returned to Holland, and resided chiefly at Alkmaar, where he died in 1728. His greatest merit was the uncommon facility and boldness of his pencil, which was well suited to the works upon which he was principally engaged, the decoration of halls and large apartments. One of his best productions is to be seen in a saloon at the Hague, where he has represented in a large landscape the ' History of Jacob and Esau.' Some of his easel paintings, landscapes with cattle, are very good. Examples of these can be found in the Brunswick Gallery, and the Rotterdam Museum.

CARRESTO DE MIRANDA, Juan, an eminent Spanish painter, was bom at Aviles, in the Asturias, in 1614. He learned painting at Madrid under Pedro de Las Cuevas and Bartolom6 Roman, and improved himself in design and colouring by study- ing the works of Velazquez and Van Dyck. His talents recommended him to the patronage of Philip IV., who employed him in some important fresco works in his palaces. Besides his commis- sions from the king, he painted a number of pictures for the churches, and Palomino gives a long account of his works at Madrid, Toledo, Alcala de Henares, Segovia, and Pamplona. At Madrid, in conjunction with Francisco Rici, he painted the celebrated cupola of San Antonio de los Portugueses, and a fine picture of the 'Magdalen in the Desert,' in the convent of Las Recogidas. His colouring was in tenderness and suavity perhaps superior to that of any painter of his country except Murillo. He was retained as painter to the court under Charles II., and died at Madrid in 1685. He also executed several etchings.

The following are some of his best paintings : Berlin. GnlUry. Paris. Louvre. Vienna. AcaJemy. Portrait of Charles II. of Spain. 1673. St. Ambrose giving Alms. A Priest with the Consecrated Host.

CARRETTI, DoMENico, was, according to Aver- oldi, a native of Bologna. It is not stated by whom he was instructed, but during a long residence at Brescia, he painted many small historical pictures for private collections. He was also employed for the churches. His most esteemed work is a picture of the ' Virgin with the Infant Jesus and St. Theresa,' in the church of San Pietro in Oliveto.

CARREY, Jacques, a French painter, was bom at Troyes in 1649, and became a pupil of Le Brun. In 1673 he accompanied the Marquis de Nointel in his embassy to Constantinople, taking sketches of the most remarkable scenes and objects, from which he afterwards painted pictures. In 1674 he visited Greece and made for the Marquis de Nointel the priceless drawings of the Parthenon, now in the Bibliotheque Nationale at Paris, which have been so highly praised by M. Beule. They were reproduced and published in 1848 by the Marquis L^on de Laborde, under the title 'Le Par- thenon, documents pour servir a une restauration.' The Louvre possesses a series of drawings bj' him representing the ' Supplioe du Pal,' and in the Bordeaux Museum are two pictures of Turkish ceremonies. Carrey died at Troyes in 1726.

CARRICK, Thomas, a native of Carlisle, removed to London and soon became popular for his mini- atures. Many eminent personages sat to him, and he exhibited at the Roval Academy occasionally from 1841 till 1860. He died in 1874.

CARRIER, AnonsTE Joseph, a French painter, was born in Paris in 1800. He was a pupil of Gros, Prud'hon, and Saint, and evinced much talent in the painting of miniatures, but in his later years he devoted himself almost entirely to landscapes. He died in 1875.

CARRIERA, RosALBA, better known by her Christian name alone, was a daughter of Angelo Carriera, a native of Chioggia, who held various official posts in the latter days of the Venetian Republic. She was born at Venice on the 7th of October, 1675, and at an early age showed her artistic talent by making designs for point-lace. This she continued to do until the fashion changed, when she was advised by Jean Steve, a Frenchman then residing at Venice, to turn her attention to the decoration of snuff-boxes, a branch of art in which he excelled. She then became a pupil of Giannantonio Lazzari, a distinguished amateur, and after- wards of Giuseppe Diamantini and Antonio Bales- tra, but her style was mainly inspired by the works of Pietro Liberi. She at first painted in oil, but it IS to her miniatures, and above all to her crayon portraits, that her great reputation is due. Elected in 1705 a member of the Academy of St. Luke at Rome, and in 1720 a member of the Academy of Bologna, the Grand-Duke Cosmo III. requested her to contribute her own likeness to the famous col- lection of painters' portraits executed by their own hands in the Uffizi Gallery at Florence. The Florentine Academy likewise enrolled her among its members. In 1720 she visited Paris in company with her mother, her sisters Angela and Giovanna, and the Venetian painter, Antonio Pellegrini, whom the elder of her sisters had married. Rosalba stayed in Paris nearly a year, during which time she executed the portraits of Louis XV., then a boy of ten years old, the Regent, and many nobleB and ladies of the French court. Crozat, Marietta, the Comte de Caylus, Watteau, Rigaud, Largilliere, Coypel, and other distinguished amateurs and artists eagerly sought her society and her works, and the Royal Academy of Painting elected her by acclamation. Her diary, kept during her stay in Paris, contains details of much interest respecting the brilliant society of the Regency. It was published by the Abbe Vianelli in 1793, and was both reprinted in Italian and translated into French in 1865. Rosalba was then forty-five years of age, and had never been pretty, yet she charmed every one by the grace and modesty which set off her rare talent. Returning to Venice in 1721, her pencil found constant employment, for scarcely a traveller of distinction passed through that city without carrying away with him his own portrait or some fancy head. In 1723 she visited the court of Modena, and in 1730 that of Vienna, and the Elector of Saxony, afterwards Augustus III., King of Poland, purchased many of her works. Ten years before her death her sight failed, and she died at Venice on the 15th of April, 1757. Her works are still admired, although no longer com- pared with those of Correggio, for the delicate tints have now faded, and the faulty drawing and affected style become but too apparent.

The Dresden Gallery possesses 143 of her works, including portraits, and sacred and other subjects, the chef-d'oeuvre being the head of Metastasio. The Louvre has five of her drawings, among which is the half-length crayon drawing of a 'Muse crowned with Laurel,' which she presented on her reception at the Academy. There are drawings