A BIOGRAPHICAL DICTIONARY OF
CAKOT, — . According to Strutt this artist re-
sided at Rome about 1585, and is tlie engraver of a
small upright plate representing ' St. Francis hold-
ing a Cross.' This is etched in a bold, spirited
style, and appears to have been the production of
a painter.
CAROTTO, Giovanni, (or Caroto,) was the brother of Giovanni Francesco Carotto, and his assistant. In San Paolo, Verona, is a ' Virgin and Child,' signed and dated 1513, and the Museum of the same city possesses a ' Madonna and Child, with SS. Lawrence and Jerome.' The churches of San Giovanni in Fonte, and San Stefano, both in Verona, have also Madonnas, with Saints, by this artist. He lived to the age of about sixty, but no dates can be given of either his birth or death.
CAROTTO, Giovanni Fkancesco, (or Caeoto,) was born at Verona in 1470 ; he was first apprenticed to Liberale, but afterwards went to Mantua, where he entered ^.lantegna's workshop, and closely imi- tated tlie style of that master. The Gallery of Modena possesses a ' Virgin and Child, with an in- fant Jolm the Baptist,' of that period, and similar subjects painted by him in these early years of his life are also to be found in the Museums of Frankfort and Berlin. Shortly before 1508 he returned to Verona, where he painted the fres- coes of the church of San Tommaso Cantaariense. The frescoes in the Spolverini Chapel, in Sant' Eufemia, at Verona, representing scenes from the history of Tobit, are amongst his best produc- tions. He paid visits to both Milan and Casale, where, according to Vasari, he worked for the Visconti and Montferrat families. Many of the galleries and churches of Verona and Mantua pos- sess paintings by him ; in San Giorgio, Verona, besides other paintings and frescoes, is a ' Glory of the Virgin,' signed and dated 1545. He died at Verona in 1546.
CARPACCIO, Benedetto, who is considered by Lanzi to have been a relation of Vittore Carpaccio, lived in the 16th century. Of his birth and death no dates are known, but there are paintings by him existing executed from 1523 to 1541. The Cathe- dral of Capo d'Istria has a ' Massacre of the Innocents,' dated 1523, and ' The Name of Christ adored by Saints,' dated 1541 ; and in the Galleria Comunale of the same place is a ' Coronation of the Virgin,' dated 1537.
CARPACCIO, Vittore, (or Cabpatius,) is said to have been born about 1450 in Istria, but the documentary proofs are wanting. He has been called in contemporary records ' Searpaza,' and by Vasari ' Scarpaccia.' He was a follower of Gentile Bellini, and was employed at the school of San Girolamo, Venice, at the same period with Luigi Vivarini and Giovanni Bellini, but all pictures of this religious corporation have entirely disappeared. After 1400 he finished, in the school of St. Ursula, nine pictures taken from the life of that saint, aU of which are now in the Academy of Venice. At the close of the 15th century he painted his ' Patriarch of Grado casting out a Devil by the aid of the Relic,' for the school of San Giovaimi Evangelista. This picture g^ves an admirable view of old Venice, as it stood at the close of the 15th century ; the date of its execution has been said to be 1494, but the written proofs are missing • it is now in the Academy of Venice. In San Giorgio de' Schiavoni (a Hospital for Seamen) are ten decorative canvases, with designs taken from the lives of SS. Jerome, Tryphon, and George, ' Christ on the Mount,' and ' Christ invited to the Pharisee's Feast,' and an altar-piece, representing the Madonna. These pictures were painted by Carpaccio for the Hospital, re-erected in 1500, the designs being completed in the years 1502 — 1508. In the last- named year he was chosen with Lazzaro Sebastiani and Vittore di Matteo, by Giovanni Bellini, to value the frescoes of Giorgione at the Fondaco de' Tedeschi ; and he soon afterwards executed his chef-d'oeuvre of ' The Presentation in the Temple,' for San Giobbe, now in the Venice Academy. In the years 1511 — 1515 he finished for the school of San Stefano 'The Calling of St. Stephen,' of 1511 (now in the Berlin Gallery) ; ' St. Stephen preach- ing' (at the Louvre) ; ' St. Stephen disputing with the Doctors,' of 1514 (at the Brera, Milan) ; and ' The Martyrdom of St. Stephen,' of 1515 (now in the Gallery of Stuttgart). He painted in 1515 a design representing ' The Indulgence of St. Mark,' for the Great Council Hall that was burnt in 1577. He executed in 1514 a large altar-piece for San Vitale, Venice, which represents ' St. Vitale on Horseback, attended by his wife Valeria, and Saints' ; and in 1515 he finished for the Prior of Sant' Antonio of Castello the altar-piece of ' Cruci- fied Saints,' now in the Venice Academy. In 1519 were painted the two altar-pieces of Madonnas and Saints in the Cathedral at Capo d'Istria, and the church of Pozzale, near Cadore. After this date no further works of his are known, and it is pro- bable that his death occurred soon after 1522. For full information respecting him see Molmenti's ' Life of Carpaccio ' trans. R. H. H. Cust. London, 1907. Berlin. Gallery. Cheshire. Brocldebank Coll. i Ferrara. 3Inseum. Florence. Uffizi. London. Nat. Gall. Milan Brera. „ Poldi Pezzoli, Paris. Louxrre. Stuttgart. 3fuseum. Venice. St. Vitale. Academy. ,, Jffvseo Correr. „ Pal-azzo I>ucal-e. A'ienna. Galltry. Madonna and Child with Saints, Christ and four Disciples (siyned). Death of the Virgin. 150S. Fragment, Finding of the Cross. Virgin and Child, with Siiints, adored by the Doge Giovanni Mocenigo. St. Stephen preaching. Presentation and Marriage of the Virgin. Samson (?). St. Stephen preaching. Glorification of St. Thomas Aquinas. 1507. Martyrdom of St. Stephen. St. Vitalis on Horseback, adoring the Vkgin. 1514. Meeting of St. Anne and St. Joachim. 1515. Cure of a lunatic, the Rialto in the background. Visitation. The Lion of St. Mark in a Land- scape. 1516. The Annunciation. 1504. Christ adored by Angels. 149(3.
CARPENTER, Margaret Sarah, who was tl;3 daughter of Captain Geddes, was bom at S;ilis-bury in 1793. She first studied art from Lord Radnor's collection at Longford Castle, and competed successfully, for two or three years, for the prizes at the Society of Arts, obtaining on one occasion the gold medal. She went to London in 1814, established herself as a portrait painter, and secured great reputation. In that year she first exhibited at the Royal Academy a portrait of Lord Folkestone, and at the British Institution the ' Fortune-Teller' and 'Peasant Boy.' In 1817 she
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