Page:Dictionary of National Biography, Second Supplement, volume 1.djvu/339

 began their artistic career under Carte's management became leading artists on the operatic stage. A keen man of business, D'Oyly Carte was a generous employer and a good friend.

D'Oyly Carte married twice. By his first wife, Blanche Prowse, daughter of a piano manufacturer, he had two sons, Lucas, a barrister (d. 1907), and Rupert, now chairman of the Savoy Hotel, Ltd. His second wife, Helen Couper-Black, daughter of the procurator-fiscal of Wigtownshire, matriculated at London University with high honours and was at one time D'Oyly Carte's secretary; she took an active part in the organisation and management of his ventures, and since his death has revived the Gilbert and Sullivan operas at the Savoy Theatre, and has maintained a touring company which performs them in all parts of the British Isles.

 CARTER, HUGH (1837–1903), painter, was born in Birmingham on 4 March 1837. His father, Samuel Carter, was solicitor to the London and North Western and Midland railway companies, and was at one time M.P. for Coventry. Coming to London, Carter studied for a short time at Heatherley's Art School, and afterwards with J. W. Bottomley, Alexander Johnson, Topham, and John Phillip. He also worked at Düsseldorf under K. F. von Gebhardt. From 1859 to 1902 Carter exhibited twenty-four pictures at the Royal Academy, mostly subject paintings of domestic interest, together with portraits of 'Alexander Blair, LL.D.' (1873 and 1898), 'Sir Joshua Staples, F.S.A.' (1887), and 'Mrs. Worsley Taylor' (1890). Two of his most successful exhibits were 'Music hath Charms' (1872) and 'Card Players' (1873), both representing scenes from Westphalian peasant life. His work was distinguished throughout by delicacy of colour and subtle expression of human character. Much of his best work was done in water-colour and pastel. In those mediums he painted a number of landscapes which displayed a fine sense of colour and atmospheric effect. As a water-colour painter he was a frequent exhibitor at the Royal Institute, of which he became an associate in 1871 and a member in 1875. He was also a member of the Institute of Oil Painters from its start in 1883, and latterly of the New English Art Club. At the Tate Gallery he is represented by an oil painting, 'The Last Ray' (1878); in the permanent collection at the Guildhall by 'Hard Times'; and at the Victoria and Albert Museum by two water-colours, 'Buildings and Gondolas at Venice' and 'Interior of the Capuchin Convent at Albano.' His portrait of his uncle, Sir Francis Ronalds [q. v.], the inventor of the first working electric telegraph, is in the National Portrait Gallery. Carter died on 27 Sept. 1903, and was buried at Kensal Green. A memorial exhibition of his works was held at Leighton House in October 1904.

On 7 July 1866 Carter married Maria, daughter of J. W. Bottomley, and had four daughters and two sons, one of whom, Mr. Frank W. Carter, is well known as an artist.

 CARTER, THOMAS THELLUSSON (1808–1901), tractarian divine, born at Eton on 19 March 1808, was the younger son of the Rev. Thomas Carter, then lower master and afterwards vice-provost of Eton, by Mary, daughter of Henry Proctor. He entered Eton when 'just six years old,' and spent twelve years of school life under his father's roof. He left Eton captain of the oppidans, matriculated at Christ Church, Oxford, on 8 Dec. 1825, and went into residence in 1827. E. B. Pusey, one of his father's pupils, who in 1828 became regius professor of Hebrew, was from the first 'kind' to him, though Carter 'was unconscious at that time of any such influence as afterwards so affected him' (Life, pp. 8, 9). He graduated with a first class in classics in 1831, sat unsuccessfully for an Oriel fellowship, and left Oxford before the tractarian movement had developed. In 1832 he was ordained deacon by the bishop of Salisbury and was licensed to St. Mary's, Reading, of which H. H. Milman, afterwards dean of St. Paul's, was vicar. He was ordained priest in 1833, and went to Burnham, Buckinghamshire, as curate for his father. There the 'Tracts for the Times' vitally influenced Carter, who 'in reading them. . . felt a sense of interest and earnestness in religious doctrines ono had not known before' (Life, p. 14). In 1838 he became rector of Piddlehinton near Dorchester, and in 1844 rector of Clewer, near Windsor, a parish with which his family had associations.

Clewer found in Carter a zealous in- 