CARAOUO. OIAKOIACOMO. 



CARDAN, JEROME. 



rino. uid Belvedere, 



odoWdukieof 



f th. 



(Paul IT.), many I 



r of tb* Ordsr at Malta. *. 



and An.lr.a. are all branches 

 Tb*n have been in 0* family OM pop* 



ROOM, ana) I* oo* of the bst < 



I V many cardinal., archbishop*, sad bishops, OM grand 



of O* Order of Malta. Aft 



.lA'COMO. a very celebraUd old copper-plat*, 

 miYsl and i **! ban at Verona or at Parma about tlie com- 

 I of the lth notary. II* wa. the pupil of Marcautonio at 

 i b*U of the early ItalUa engravers. His print* 

 their number La* not been accurately 

 Itortavh'oewriU** aixty-fc-ur; and Brulliot knew only of 

 ixty-lv*. la the lalUr put of hi* life CarsgUo gave np engraving on 

 Bum ST. aad eoaaaed himself to medal, cameo, and gem engraving, an 

 art in huh he obtained to great reputation, say* Vaasri, that 

 SsrfctmKi I., kinc of Poland. Invited him to Warsaw to execute some 

 work, for him-H* returned to July well rewarded, aod died about 

 1570. at hi* owa estate in th* neUhbonrbood of Parma. The fact of 

 hi. srttUsw, la th* r*rsn*saa torritory is in favour of th* supposition 

 that Parma wa* hi* native pUoe : b* signs himself 'Pannensis' on 

 wv.r.1 of hi* work*, yst mor* sr* signed 'Jo. Jacobus Vsrooensi* ; ' 

 MB* 'Jar. CaraUoa.' 



He cafr*vd aftor U Rosso, RaflaeUa, Titian, Michel Angelo, P. del 

 Parmegi.no, and other famom mosUrs. Hi. 

 td. as is th. node generally, but th* draperie* 

 are hard sad unnatural : hi* line, are dUtinct, and allow groat mastery 

 far th* period, bat h* did not reach th* excellence of hi* master 

 - . 

 (Vaatri. riH sV PUtori, Jke. ; Bartsch, Pti*ln-<}rttmr ; Brulliot, 



CARAVA-OOIO^kUCHKLANOELO, AMERIQHI, or MORIOI, 

 catted UA CAHAVAQOIO, from a town of that name in the Milanese, 

 In watch h* was bora about th* year 1569. His father worked at 

 Milan as a labouring builder. The eon derived hi* first love of the 

 art, together with such knowledge a* b* could pick up, in th* service 

 of ii si lei II srtiita as a colour-grinder. In course of time he managed 

 to go to Venice, where he studied the work* of Oioreior.e with great 

 sucoess, and some of hi* picture* in the style of that period are much 



'aravaggio afterward* went to Rome, where, finding difficulty in 

 retting employment, he engaged with a trafficking artist, called Arpino, 

 tor whoa be principally peintrd flowers and fruit Thi* man he soon 

 quitted, and commenced painting in the miscellaneous style which hu 

 ever after pursued. He made a resolution to study no more from 

 sfttaeial models, bat to adhere simply to nature, such as ha found it 

 in the strssts sad alleys of Rome. Neglecting his early studies at 

 Venice, be saramed a manner characterised by dark and gloomy shaded, 

 illumined by a scanty twilight, a* if h* painted in a celUr. Having 

 quarrelled over some gams with a companion, whom he killed, he fled 

 to Naples; from Naples b* went to Malta, where he was made a 

 knight ; bat her* too b* quarrelled with a penon of rank, and was 



. ! 



Though h* made his escape to Sicily, vengeance 

 was assaulted by a party of armed men, and 

 and dUngured. Hi* friends having obtained a 

 from th* pop* for the murder, he set out for Rome, but 

 aately, oa faadiag. h* wa* taken into custody by mistake, and 

 upon bria* riliani. could no longer find th* Teasel, which had all 

 hi* property on board. Eabaasttd with fruitless endeavours to find 

 Ik* Ttasal aad hi*property, h* endeavoured to make the best of hi* 

 way to Bos.*. The he*, hi* yet unhealed wound*, and anxiety of 



rind, broojrht on so violent fever, that be could barely reach the 

 Porte Brook, where be sat down upon a bank and presently expired, 

 at the age of forty, in th* *MT 1009. Caravagjrio was rude and 

 arligiwt hi Us prraon and babiu ; he scarcely retained a friend, and 

 he deoed all rule, of civility and decency. 



Th* principal merit of hi* pietoM consist* in the colouring, which 

 i* pore ud ngorow ; th* tints are few, but true to nature. Annibnle 

 Canon said of him that he "ground nosh" (and tiot colour). The 

 iteaaiUj In wfaMi be involve* hi* dwign give* it a certain air of 

 *>nltf grandeur; bat hit ngaras am replete with thi unredeemed 

 TvlfarHv of th* model* from which he stu lied, aud the extravagance 

 of setftngfat concert aggravated by abandoned habit*. Hi* prin- 

 cipal work* are a '9t Hebwtun,' to th* f'apitol at Rome, a ' Supper at 

 was.' in the nuigtmi Palace, and th* 'Entombment of CbrUt,' now 

 la th- Loavre, wbVi, i* iu original pises in the China Nuova was con- 

 aider** to tdipM th* rival irtar-piecMS by Baroccio, Ouido, ai.d Ruben*. 



A moor the nasabsr of his imitator*, lay* Lanti, th. re i* not a 

 tiagU Ua coloarM; Uuercino and Ouldo, and even Annibole Caraccl, 



"T.T^.'S JSJ.K^.V.ii^? 1 ^ ^ bU worki - ("W'nuocl.) 



CARAVA'OOIO. POLIIKKRO 6A, a eelel-rated Italian painter, 

 ton at Ceravagglo abeat 146; his fctnily name wv 

 Wh* b* WM eigbtMB year, of age be was a labourer, and wa. with 

 Mr/ other* rmploysd ss raeh about 16U in the Vatican, wl, , n 

 ?^ JT"* J" t-totfag the loggi* and *tan n ther, In the pontificate of 

 UoX. He appw* to have taken great interest in the progress of the 

 work., and be m..l socae attempt, at design himself, wblch had 

 t.Mrii to i..dce Matarine of Ftertnce. on. of the uiditanU 



*' ^SS^'J!' *"*"' *", <<* which he soon di*. 

 .xtraottltoary .Witty. A strong attachment grew up between 



the two young painter*. Maturino employed Polidoro to a*sit him in 

 bin work, anil their joint labour soon attracted the notice and 

 admiration of Rsflaclle. 



Vaaari evidently give* the greater merit in these early work* to 

 Polidoro, but a* the later works which he painted when alone, were 

 very different in ttyle from the*e and oilier* which were done in Home 

 in thi* period, in company with Maturino, aome recent writer* have 

 ventured to gire Maturino the greater credit These works were in 

 fresco and in light and shade, or what the Italians call chiari*curi, and 

 consist mostly of friezes and other decoration*, in imitation of brance 

 r marble, applicable for buildings, interior* or exterior*. Their 

 figures, of which they were not (paring, were drawn in a pure antique 

 ityle, and not inferior in that respect to the works of any modern 

 master. They imitated ancient statues and bassi rilievi, and ancient 

 sculptured ornament* of any kind. Vaiari say* that there was not 

 a fragment of ancient ornamental art in Home which they did not 

 copy ; they painted also original works from sacred and modern story. 

 Of all these work* however scarcely a Tostige remains, but some 

 are in a measure presorted by the prints of Cherubino Albert), P. S. 

 Bartoli, and Qalestruzxi. The last engraved, in five sheet*, the story 

 of Niobe, which Maturino and Carnvaggio painted aa a frieze on the 

 facade of a boon opposite the Palazzo Lancellotti : it was one of their 

 masterpiece*. 



The *aok of Rome, by the soldien of Bourbon in 1527, put an end 

 to the joint labours of Polidoro and Maturino ; they both fled, but 

 Maturino is supposed to have returned, and to have died of tlio plague 

 in the same year. Polidoro went to Naples, where he wa* received into 

 the house of Andrea da Salerno : he practised there aome time, but 

 finding that hi* work* were not duly appreciated, he removed to 

 Messina. Here, in 1636, upon the visit of Charles V., on hi* return 

 from his victorious expedition to Tunis, he was intrusted with the 

 conduct of the triumphal decorations on the occasion. He dwelt 

 several years hi Messina iu high esteem, and executed many good 

 work*, not in the early style of chiariscuri, but in colours ; and some of 

 them were for altar-pieon : Visari mentions a ' Cliri-t led to Calvary' 

 amidst a crowd of people, as a masterpiece. In 1548 he made up hi* 

 mind to return to Rome, having, to hi* misfortune, aa it proved, 

 amassed a considerable sam of money. Polidoro had provided himself 

 with a large sum of money, and all things were prepared for his 

 departure the ensuing morning. A servant whom he had had many 

 years was to accompany him ; but the wretch hired some asaassin* to 

 atranv'le him during the night, when he was asleep, agreeing to ahare 

 the booty with the assassins, who having stabbed the body of Polidoro 

 in two or throe plaoes, carried it to the door of a house where a lady 

 lived whom he had been in the habit of visiting. The servant went 

 weeping and lamenting, and related the discovery of the body to a 

 certain count, a friend of Polidoro's, but he eventually suspected the 

 truth of the man's story, and caused him to be put to the rack, upon 

 which he made a circumstantial confession of the whole infamous 

 affair. The miserable creature was tortured with heated forceps, 

 hanged, and quartered. Polidoro was buried in the cathedral of 

 Messina. Some of the pictures which he painted at Messina are in 

 the Qallery of Naples. He excelled in landscape. He also etched 

 several platei iu a good style ; they are however extremely scarce : tho 

 print* after him are likewise scarce. 



(Vasari, Vile dt Pilturi, Ac.; Qandellini, AVirfe Itloriche, Ac.; 

 Lanxi, .Vort'a I'itioricn, Ac.) 



CARBO, CNEIUS PAPI'RIUS, son of Carbo the Roman orator. 

 (Cic. < De CUr. Orat.,' 27, 43, Ac). He espoused the party of Marius, 

 and was consul three times ; A.U.C. 669 he was colleague with Cinna. 

 Cinna had the administration of Italy, while Carbo took tho command 

 in <iiutl. Whi-n Cinna died Carbo remained solo consul, and 01 

 Sulla in Italy. He procured from the senate and people a decree 

 declaring all who joined the caute of Sulla enemies to the state, 

 Carbo wa* afterwards defeated by Pompey, and was at last taken 

 r in Sicily, and brought before hi* triUinnl. Pompey pro- 

 nounced a violent invective upon him, and ordered him to be led to 

 execution. A.U.C. 671. (Appian, ' De Bell. Civ.,' vol. i. p. 410.) Tho 

 ingratitude of Pompey iu thus treating a man who had FO ably <li 

 him in liis youth, when hw father's property wan going to be confiscated, 

 has been deservedly condemned by Valerius Maximus (v. 3, 5.) 



CARIiAN, .IKKOM1C. To give any great detail of the life nnd 

 writing* of this singular union of genius nnd folly would rijn in-- 

 considerable space. We must therefore confine ourselves for the most 

 part to those circumstances in regard to which his name is principally 

 mentioned in modern writing*. 



On tho life of Cardan the authorities most in use are 1. His own 

 trentiie 'De Via Proprift,' Works, voL i. 2. O. Naudicus 'Judicium 

 de Cardano,' 1643. The mo*t accersiblo accounts of these M 

 ' Baylo's Dictionary,' article ' Cardan ; ' and in Teissicr, ' Eloges des 

 Uomme* Sarans,' vol. iv. p. 97. 



The works of Canlan were collected under tho title of ' Ilicronymi 

 Canlani Opera omnia, curt Cnroli Sponii,' Lyon, 1663, in ten volumes, 

 folio. The following list of works, long as it may appear, 

 the shortest mode of touching on many points which require only tlic 

 briefest notice. In all, the date begins the title. 



1639, 'Card. CusUlouei Practioa Arithmetics!,' &o., Milan. 1 Jill, 

 Aphorism! astronomic!,' Ultn. 1512, 'De conxolatione,' Venice. 



