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 CARRANZA CARRARA MARBLE most important and laborious duties. He pre- pared treatises on architecture and perspective, lectured on anatomy, and suggested subjects for composition, drawn from history or fiction. He also proposed and awarded prizes for de- signs, celebrating the victor's triumph with music and song. His early predilection for engraving never forsook him, and, although his designs were numerous, he finished fewer paintings than either of the other Carracci. Among the best specimens of his paintings are " St. Jerome receiving the Sacrament before Death," at Bologna, and the "Infant Hercules strangling the Serpents," in the Louvre. III. Annibale, brother of the preceding, born in Bo- logna in 1560, died in Rome in 1609. He was at first a tailor, but was instructed in painting by Ludovico, and afterward sent to Parma and Venice, where he devoted years to the works of Correggio and the great Venetian colorists. His style was founded on the eclectic principle adopted by Ludovico. He was an industrious painter, and the works of this period of his life are numerous. His contributions to the palazzi Magnani and Zampieri in Bologna, in which' he assisted Ludovico, were highly esteemed. In 1600, by the invitation of Cardinal Farnese, he visited Rome, where, under the influence of Raphael and Michel Angelo, his style devel- oped itself in a new form. He was employed to paint for various churches in Rome, but his chief work is the series of frescoes of mytholo- gical designs in the Farnese palace, and particu- larly in the gallery, which occupied him eight years. At the commencement of this work he was assisted by Agostino ; but the intercourse between the brothers, when they were not under the influence of Ludovico, was always liable to be interrupted by jealousies and dis- putes, and Annibale was soon left to labor alone. When the work was at length com- pleted, the artist received only 500 crowns. Irritated by this parsimony, and enfeebled in health by long confinement, he repaired to Naples. The persecutions of the Neapolitan artists obliged him to return to Rome, where he died soon afterward. Besides the contribu- tions to the Farnese palace, which have been frequently engraved, "St. Roch distributing Alms," in the Dresden Gallery, a "Dead Christ supported by the Madonna," the " Resurrec- tion," at Bologna, and the "Three Marys" in the collection at Castle Howard, are among his most celebrated works. He was one of the first to practise landscape painting as a sepa- rate department of art. IV. Frenrtsro, brother of the preceding, born at Bologna in 1595, died in Rome in 1622. He studied painting with Ludovico, and attempted to establish a rival school in Bologna, over the door of which he caused to be inscribed "This is the true school of the Cnrracci." The project foiled. CARRANZA, Bartolome de, a Spanish prelate, born at Miranda in 1503, died in Rome, May 2, 1576. He early gained distinction as pro- fessor of theology at Valladolid, and attended in 1546 the council of Trent as envoy of Charles V. He was subsequently tutor of Charles's son, afterward Philip II., whom he accompanied to Winchester in 1554, on his marriage to Mary of England, whose confessor he became, zeal- ously cooperating with her in the interests of the church of Rome. Shortly after his acces- sion to the throne Philip II. appointed him primate of Spain. In 1558 he was arrested by order of the inquisition on account of his Comentarios sobra el cateeJiismo cristiano, though the catechisim was approved by the council of Trent. His alleged heterodox in- fluence upon Charles V. at his deathbed also gave oft'ence. In 1567 his condition as a prisoner was ameliorated by his being removed to the castle of San Angelo in Rome ; but he was not released till 1576, and died a few weeks afterward. His principal work, Summn Conciliorum (Venice, 1546), passed through many editions. CARRARA, a city of Italy, in the province of Massa-Carrara, on the Avenza, 59 m. S. W. of Modena; pop. about 7,000. Its principal edi- fices are the college, the palace of the former dukes of Modena, the collegiate church, and the church of Madonna delle Grazie. An academy of sculpture was founded here by Napoleon, and many artists from abroad reside here to superintend the transport of marble, or to exe- cute works of art. The inhabitants are chiefly engaged in the preparation of marble, which is obtained in the vicinity. CARRARA MARBLE, a beautiful white marble, of fine granular texture, deriving its name from the city of Carrara. The Parian differs from it in being composed of the most delicate little plates or scales, confusedly united together. The magnificent chain of mountains in which the quarries of Carrara marble are situated forms a portion of the Apennines, and is in- cluded in the province of Massa-Carrara. These mountains are distant about 4 m. from the seashore, and present a very imposing ap- pearance, towering to the skies, and broken into rugged and inaccessible peaks. The quar- ries, among which are those that furnished the material for the Pantheon at Rome, are about half way up the mountain ; and although they have been worked for many centuries, and the annual export has long amounted to about 40,000 tons, yet the workmen are still employed upon the surface, so that the supply may be re- garded as inexhaustible. The Carrara marbles are of four varieties. That used by sculptors, the white, granularly foliated limestone, is the most valuable. It is more easy to work than the compact limestone, its color is purer, and it is delicately transparent. The other varie- ties are the veined marble, with colored lines, which render it unfit for statuary; the rava- cioni, or Sicilian, and the laidifflio, of a deep blue color. In working the quarries, large blocks of marble, some of more than 200 cubic feet, are loosened by blasting. When thoroughly detached, they are tumbled down or lowered