His parents lived in the greatest indi- | sions of his heads, the grandeur and gence and obscurity, and, after pass- copiousness of his compositions, and ing his youth in misery and want, he the elevation of his ideas, he appeared was obliged to leave his home in to have restored the purest era of search of employment; and, on his Athenian art. In colour, almost enarrival at Rome, was engaged as a tirely a monochromist, he was the porter, by the artists who were en- first of the Roman school that atgaged in the Vatican, under Leo X., tempted the magical effect of chiaroto carry the mortar for the plaster scuro in the management of the of their fresco paintings. Whilst he masses of light and shadow. It was was occupied in this humble station, the custom at Rome, at the time of he observed, with great attention, Polidoro, to ornament the exterior with what facility the artists executed of the principal houses and palaces the designs of Raffaelle; and, inspired with the works of eminent artists, by his natural disposition for the executed in a style called by the art, he made some attempts, which Italians " sgrafitto," expressed by attracted the notice of Raffaelle, of hatchings on the plaster, in the manwhom he afterwards became one of ner of engraving. In works of that the most illustrious disciples. His nature, Polidoro and his friend Maassiduous application in studying lurino were much employed; and it the ancient statues and bassi-relievi, is greatly to be regretted that their was such, that in a little time he exposure to the weather and the appeared to have imbibed the true ravages of time have deprived the spirit of the Grecian sculptors; the art of these valuable productions, of same perfection of design, the same whose beauty we may form some purity of form, appeared in all he judgment from the prints which have did. This scrupulous attention to been engraved from some of them by the antique rendered him little sen- Cherubino Alberti, Hen. Goltius, sible to the charm of colouring; and Gio. Batista Galustruzzi. After and, indeed, for some time he en- passing some time at Naples, he went tirely neglected it, contenting him- over to Sicily, where his first emself with representing, in chiaro- ployment was painting the triumphal scuro, the designs he had composed arches which were erected at Mesfrom his studies of the beauties of sina, on the occasion of Charles V.'s antiquity. Such was his excellence return from his expedition to Tunis. in these productions, that he was His next work was his celebrated selected by Raffaelle to paint the picture of Christ bearing his Cross, friezes which accompanied the works a grand composition of many figures, of that master in the apartments of painted in oil, with a beauty and the Vatican; and they were in no harmony of colouring which proved way unworthy of being placed with that he was capable of distinguishing the sublime productions of that illus- himself in that department of art trious artist. From the models he when the subject admitted of it. The consulted, Polidoro was a strict ob- remainder of his history is painful to server of the propriety of costume. relate. Rome being restored to tranThe trophies with which he accom- quillity, Polidoro was desirous of repanied and embellished his works turning to the emperium of art, are truly antique, and by the variety which he had been forced to abandon of his attitudes, the simple cast of by necessity. Preparatory to his dehis draperies, the admirable expres-parture from Sicily, he had drawn K CARDON (Anthony), a Flemish engraver, born at Brussels in 1773. He was instructed in the art of en his money from the bank; tempted by | Vatican, at Rome, which Andrea which, he was murdered by his ser- Sacchi placed next the Transfiguravant, a Sicilian, in 1543, in his 48th tion of Raffaelle and the St. Jerome year. His principal works are his of Domenichino, but which unforfriezes and other ornaments in the tunately is at present nearly deVatican; in the garden of the Palazzo stroyed.-De Piles, D'Argenville. Buffalo at Rome, the Fountain of Parnassus; in the court of the same palace, his History of Niobe; in St. Silvestra a Monte Cavallo, two sub-graving by his father. During the troujects of the Life of Magdalen, &c., bles in the Low Countries, Mr. Car&c.-D'Argenville. don took refuge in England, in the CARAVAGGIO (Michel An- year 1790, when he was only 17 years gelo Amerigi da), an historical, of age. He brought with him an portrait, fruit, and flower painter, introduction to Mr. Colnaghi, whose born at Caravaggio in the Milanese discernment discovered the rising in 1569, and died in 1609, aged 40. talent of the young artist, and he He studied under Giorgione, at Ve- gave him immediate employment. nice, and afterwards under Giuseppe In a few years he became eminent Cesari, at Rome; but he established from the plates he engraved for some a style of his own, as he found in the of the most respectable publications works of his masters more to reject that have appeared since that time. than to follow. His great excellence He also engraved several detached consisted in truth of colour. His prints and portraits, in a very pleasmaster-piece is the Entombing of ing and admirable style. Mr. CarChrist, at present in the Louvre, at don had risen to a distinguished Paris. D'Argenville relates the following anecdote of this celebrated artist: Being at an alehouse, without any money to pay his reckoning, he painted a new sign, which afterwards sold for a considerable sum. D'Argenville. CARDI (Ludovico), called CIGOLI or ČIVOLI, an historical painter, born in 1559, and died in 1613, aged 54. He was a disciple of Santi di Titi, and gave a new style to the Florentine school; he was the inventor of an original, but not a steady style; that which he adopted differs from his former one. His best works are the following: the Trinity, in the church of Santa Croce; St. Albert, in that of Santa Maria Maggiore; the Martyrdom of St. Stephen, at the Sisters of Monte Domini; St. Anthony converting a Heretic, at Cortona; and his St. Peter healing the Cripple, in the rank in public estimation, when he fell a victim to a too assiduous application to his profession.—Gents.' Mag. CARDUCCI (Bartolomeo), an historical painter, born in Tuscany in 1560, and died in Spain, in 1610, aged 50. He went to Spain with Frederico Zucchero, where he established himself with his brother Vincenzio. He was one of the painters employed in the Escurial, and assisted Pellegrino Tibaldi in painting the ceiling of its library, and the frescos of the cloisters. His masterpiece is said to be a Descent from the Cross, in the small chapel of St. Philipe el Real, in Madrid-— Ibid. CARINGS (John), an English landscape painter, who died at Amsterdam about 1640. He passed great part of his time in Holland, and painted many views of that coun try with neatness and precision.Dict. Poly. CARLINI (Agostino), an Italian sculptor, who died in 1799. He resided in England, and was appointed keeper of the Royal Academy. He excelled particularly in draperies. Among his best works is an equestrian statue of the King, a model of which is in the council-room of the Royal Academy; and a statue of the late Dr. Ward, in marble, which is in the great room of the Society of Arts, at the Adelphi.-Gen. Biog. Dict. CARLISLE (Ann), an English artist, contemporary with Vandyck; she was much esteemed as an artist, and patronised by king Charles I.Dict. Poly. CARLONI (Giov. Batista), an historical painter, born at Genoa in 1594, and died in 1680, aged 86. He was a disciple of Passignano; he studied at Rome, and afterwards with his brother Giovanni. Their most splendid works are, the frescos of the cathedral del Guastato, at Genoa, the colouring of which at the same time surprises and enchants; every colour is pronounced in its purest and deepest tone, without impairing the harmony of the whole. Batista survived his brother fifty years, and distinguished himself by his novel style, in the churches and collections of Liguria and Lombarby. Vies des Peintres. CARMONA (Emanuel Salvadore), a Spanish engraver, born at Madrid about 1740. He visited Paris when young, and became a pupil of C. Dupuis. In a few years he made so great a progress that he was received into the academy at Paris in 1761. He afterwards returned to Spain, where he continued to give proof of his respectable talent. Strutt. CAROTO (Giovanni Francesco), an historical and portrait painter, born at Verona in 1470, and died in 1546, aged 76. He was at first a disciple of Liberale Veronese, afterwards of Andrea Mantegna, under whom he so greatly improved as to be often superior to his master. He originally preferred to paint in a small size; but at length, from a desire of confuiting those who asserted he was incapable of painting in large, he executed a noble design in the chapel of the Virgin, at Verona, with figures as large as life, which established his name and reputation.-Pilk. CAROTO (Giovanni), an historical and portrait painter, and architect, brother of the preceding. He was a disciple of his brother, and imitated his manner. He made drawings of all the curious remains of antiquity in and near Verona, particularly the famous amphithea tre, which were engraved and pub lished. In the latter part of his life he settled at Venice, and had for his scholars, Paolo Veronese, and Anselmo Cannero.-Ibid. CARPENTIERS (Adrian), a foreign artist, who resided in England, and exhibited in 1774. One of his best performances was a half length of Roubilliac, the sculptor, an excellent likeness.-Edwards. CARPI (Ugo da), an historical painter, who died in 1500. This artist is more famous as the disco verer of a manner of painting in chiaro-oscuro, than as a painter. This art he performed by two pieces of box-wood, one of which marked the outlines and shadows, and the other impressed the colours, leaving some parts of the paper uncovered as masses of light. He executed in this manner several prints from the designs and cartoons of Raffaelle, particularly one of the Sybil; a Descent from the Cross; the History of Simon the Sorcerer; and the CARPIONI (Julio), a painter of history, bacchanals, triumphs, and sacrifices, born at Venice in 1611, and died in 1674, aged 63. He was a disciple of Alessandro Varotari, called Paduanino, under whom, in a short time, he acquired great reputation. He preferred painting in a small size, and those subjects which admit a great number of figures, as bacchanalians, sacrifices, &c. His works are held in high estimation, and much sought after. -Ibid. CARPI (Girolami), a portrait and historical painter, born at Ferrara, in 1501, and died in 1506, aged 55. He was a disciple of Garofalo, but devoted his whole time and attention for several years in studying and copying the works of Correggio; in which he succeeded so far, and acquired such excellence in the imitation of Correggio's style, that many paintings finished by himself were taken for originals; and it is not improbable, that several of his paintings pass at this day for genuine works of Correggio. Ibid. wards of Jacques Jordaens. He was appointed state painter at the court of Friesland, and adorned the palace with several fine paintings, particularly landscapes, in which he introduced huntings of the wild boar and other animals; which subjects he painted in the manner of Snyders. He resided the principal part of his life at the Hague and Amsterdam. His style of painting was agreeable, and his colouring good.—Pilk. CARRE (Michael), younger brother of the preceding, born at Amsterdam in 1666, and died in 1728, aged 62. He studied at first under his brother, and afterwards became a disciple of Nicholas Berchem. He, however, most unaccountably preferred the style of Vander Leew to that of Berchem. He resided some time in London, but from disappointment returned to his native city, from whence he was invited to the Prussian court, where he obtained a good appointment. He had great readiness of hand, and neatness in pencilling his easel pictures ; but his inclination led him to a larger size; to the embellishment of grand saloons, halls, and large apartments. -Ibid. CARRIERA (Rosalba), a portrait paintress in crayons and miniature, born at Chiozza in 1675, and died CARR (Johnson), or KERR, a in 1757, aged 82. She carried crayonlandscape painter, born in 1743, and painting to a high degree of exceldied in 1765, aged 22. He was one lence, though her performances of the most considerable of Wilson's seldom arrived to the strength of oil pupils, and obtained several premi-pictures. Her portraits are graceful ums from the Society for the En-in conception and attitude, and fresh couragement of Arts, particularly and alluring in colour; her Madonin the years 1762 and 1763, when nas, and other sacred subjects, gracehe received the first prizes.-Ed-ful and dignified, and even majestic. wards. By her incessant application, she was deprived of her eye-sight during the last ten years of her life.D'Argenville. CARRE (Henry), a Dutch landscape and conversation painter, born at Amsterdam in 1656, and died in 1721, aged 65. He was at first a CARS (Laurence), a French dedisciple of Jurian Jacobsz, and after-signer and engraver, born at Lyons in 1702. He was the son of an obscure engraver, of whom he received some instructions; but he went young to Paris, where it was long before he distinguished himself. Cars may be considered as one of the best French engravers of the eighteenth century, in the kind of subjects he selected. His best plates are those he has engraved after Le Moine, and particularly the print of Hercules and Omphale.-Strutt. CARTER (George), a painter, who died about 1786. He was originally a tradesman, and upon failure became a painter. He travelled for the study of the art to Rome and other places; but it appears he had neither genius nor ability sufficient to entitle him to the rank of an historical painter, though he has assumed the title to himself in some of his productions. He exhibited in 1778, at the Royal Academy, an Adoration of the Shepherds, and afterwards presented it to the church of St. James, Colchester. In the year 1785, he made an exhibition of his works, which contained thirtyfive articles.-Edwards. In his sea-views he excelled in representing the waves breaking on the shore, or dashing against the rocks.-Edwards. CASALI (Andrea), an Italian painter and engraver, born at Civita Vecchia, about the year 1720. He is said to have been a scholar of Sebastian Conca. He visited England about the year 1748, and was employed in ornamenting the seats of several of the nobility. He etched some plates from his own designs, and one from Raffaelle. Walpole. CASALI (Andrew), an historical painter. This artist resided several years in England, and was employed in 1748 to paint the transparencies which formed a part of the decorations of the fire-works exhibited in the Green Park, St. James's, on the celebration of the peace of Aix-laChapelle; and also painted some ceilings for Mr. Beckford, at his celebrated seat at Fonthill, Wiltshire. He obtained several premiums given by the Society for the Encouragement of Arts for historical subjects; and painted a Wise Man's Offering, for the chapel of the Foundling Hospital, which has been removed for the admission of Mr. West's Young Children brought to Christ; and two figures of St. Peter and St. Paul, St. Margaret's church, Westminster. His works possess all the insipid merits of the modern Italian school; shewy, but tawdry in their colouring, and theatrical and trifling in their composition.-Edwards. CARTER (William), an English engraver, who flourished about the year 1660. He was a scholar of Hollar, and a successful imitator of his style. It is very probable he as-in chiaro-scuro for the altar-piece of sisted Hollar in the prodigious number of works in which he was engaged, as his name or mark is only affixed to a very few prints. In Ogilby's translation of Homer, the vignettes and other ornaments were engraved by Carter.- Strutt. CARVER (Robert), an Irish land-paintress; she was a disciple of scape, sea-view, and scene-painter, Giuseppe dal Sole, and signalised who died in 1791. He was intro- herself by painting portraits.—— duced into England by Barry, the D'Argenville. player, and was engaged at Drurylane by Garrick, to paint the scenes, and afterwards at Covent-Garden, where he was employed till his death. CASALINI (Lucia), a portrait CASAUBON (Frederick), an historical and portrait painter, born at Solirgen, a city of Germany, in 1623, and died in London, in 1690, |
