CARILLUNS CARLIN. 



arts, external deformities, which do not spring from 

 the fault of the persons afflicted, and therefore ex- 

 cite compassion rather tlian disgust, can never be 

 the proper subjects of caricature ; for, besides that 

 Uie moral sense is offended, the arts are not permitted 

 to idealize deformities, unless for the purpose of im- 

 bodying and representing diameter. Such corpo- 

 real disfigurements, however, as arise from moral 

 defects, and all disagreeable peculiarities of manner 

 and appearance which spring from the same cause, 

 are fair subjects of caricature. These caricatures 

 are to be considered as poetical representations of 

 moral and intellectual deformities, of the vices and 

 follies of individuals, or of whole classes, sects, c., 

 as dramatic pictures, which acquire interest from the 

 moral views with which they are composed by the 

 painter, and understood by the spectator. With this 

 object, Leonardi da Vinci has drawn his caricatures. 

 He represents the quarrelsome, the peevish, the 

 braggart, the slothful, the bloated glutton, the dissi- 

 pated rake, the awkward clown, the laughing fool, 

 &c., all with fidelity, but with exaggeration. Car- 

 icatures may be tragic or comic. To the former 

 belong illustrations of moral depravity ; to the lat- 

 ter, those of intellectual deficiencies arising from 

 self-neglect. They were in use even among the an- 

 cients, who had among their masks a number of car- 

 icatures. Hogarth is an unrivalled master of car- 

 icature. Leonardi da Vinci, Annibale Caracci, 

 Gliezzi, Callot, and Ramberg, were also distinguished 

 in this branch of art. The political caricatures of 

 the English are of a striking and peculiar kind, often 

 exhibituig a greater sensibility for political liberty 

 tlian for dignity and beauty, but abounding hi wit 

 and bold humour. Gilray and Bunburymay be con- 

 sidered as the cliief masters in this kind of carica- 

 ture. The French caricatures are rather exaggera- 

 ted representations of life than satirical ideals. The 

 Italians have too strong a sense for the beautiful to 

 relish caricatures, and the Germans are too grave to 

 excel in these sportive productions. Grose, in Lon- 

 don (1788), published rules for the drawing of cari- 

 catures, with an essay on comic painting ; and Mal- 

 colm, an Historical Sketch of the Art of Caricatur- 

 ing, with Graphic Illustrations, London, 1813, 4to. 

 An ingenious method of obtaining caricature like- 

 nesses is to draw the likeness on leather, and then 

 to stretch the leather, so that the features may be 

 exaggerated while the resemblance remains. 



CARILLONS. See Chimes. 



CARINTHIA ; a duchy of the Austrian monar- 

 chy. See Austria. 



CARISSIMI, GIACOMO ; a famous Italian musical" 

 composer of the seventeenth century. He was born at 

 Padua, and was living as late as 1672. He wrote many 

 oratorios, cantatas, and motets, and his contempo- 

 raries praised him for his characteristic expression of 

 feeling, and his easy, flowing style. He deserves most 

 honour for the improvement of the recitative, hav- 

 ing given it a more expressive and natural language. 

 He wrote, also, it is said, the first church cantatas. 



CARITA (Italian, from the Latin caritas) a 

 name, in the fine arts, applied to the representation 

 of Christian love. It is exhibited under the figure 

 of a tender mother, in the midst of her children, ma- 

 nifesting her kindness and affection for them. In 

 this way, for instance, Andrea del Sarto has repre- 

 sented it hi a picture which was formerly in the Na- 

 poleon museum. A careful and tender mother, hold- 

 ing two children, of whom one lies upon her breast, 

 and the other is refreshing itself with sweet fruits, 

 while a third, on whom her eyes are fixed, slumbers 

 softly near her, are the prominent parts of the pic- 

 ture. This representation of loveliness and tender- 

 ness united was unknown to ancient art. 



CARLETON, SIR GoY,lord Dorchester, was bom 

 at Strabane, in Ireland, in 1724, and, entering the 

 army, became lieutenant-colonel in the guards in 

 1748. In 1758, he accompanied Centra! A inherst 

 to America, where he distinguished himself at the 

 siege of Quebec. He was promoted to the rank of 

 colonel in the army hi 1762, and, at the siege of the 

 Havannah, signalized himself by liis bravery. In 

 1772, he was appointed governor of Quebec, and 

 created major-general. By his great exertions, he 

 si\ rd the whole of Canada, the capital of which was 

 1 M-S'U -o-ed by the American generals Montgomery 

 and Arnold. The inhabitants joined the British 

 troops, and, after an obstinate resistance, the Ame- 

 ricans were repulsed, and Montgomery was killed at 

 the head of his army. In consequence of this ex- 

 ploit, he was knighted, and, the next year, became 

 a lieutenant-general. In 1781, he was appointed t 

 succeed Sir Henry Clinton, as commander-in-chief in 

 America, where he remained until the conclusion of 

 the war. In 1786, he was again created governor 

 of Quebec, Nova Scotia, and New Brunswick ; and, 

 as a reward for his long services, was raised to the 

 peerage, by the title of lord Dorchester, of Dorches- 

 ter, hi the county of Oxford. He died hi 1808, 

 aged eighty-five. 



CARLI (GIOVANNI RINALDO), count, called some- 

 times Carli-Rubbi, from the title of his wife, was born 

 in 1720, at Capo d'Istria, of an ancient noble family, 

 and early manifested an inclination for the study of 

 the middle ages, with which he connected the study 

 of belles-lettres and of poetry. In his twenty-first 

 year, the senate of Venice made him professor of 

 astronomy and naval science. On account of a ridi- 

 culous controversy between him and the abbe Tarta- 

 rotti, on witches and witchcraft, he was accused of 

 heresy. Maffei put an end to the controversy by 

 his La Magia Annihilata. The care which his large 

 estates required compelled Carli to resign his pro- 

 fessorship and retire to Istria, where he spent his 

 time hi the study of antiquities, on which he has 

 written some valuable treatises. He was afterwards 

 appointed by the emperor president of the highest 

 commercial court at Milan, and, subsequently, pre- 

 sident of the college of finance in the same city. He 

 published his works, 1784 1794, complete in fifteen 

 volumes, under the title Opere del Sig. Commenda- 

 tore D. Gian. Rinaldo, Conte Carli, Presidente, Sfc. : 

 but, in this edition, his American letters are not con- 

 tained, which form a work of five volumes. He died 

 hi 1795. 



CARLIN ; the most celebrated harlequin of the 

 French stage. Some writers consider the word har- 

 lequin as derived from his name. He was born at 

 Turin hi 1713. His true name was Carlo Antonio 

 Bertinazzi, and Carlin is the abbreviation of Carlino, 

 the Italian diminutive of Carlo. In 1741, he went 

 to Paris, took part hi the Italian comedy there, and 

 performed, for forty-two years, hi the character of 

 harlequin, with constant applause. Goldoni praises 

 him not only as one of the best comic actors, but 

 also for his excellent manners and elegant appear- 

 ance hi society. He enjoyed the greatest favour 

 with the parterre, and addressed the audience with a 

 familiarity not allowed to any other actor. He was 

 still more successful hi improvisation than in the 

 performance of written parts, and has performed a 

 whole piece of five acts (Les vingts-six Infortunes d' 

 Arlequiri) in this manner. The union of mirth and 

 benevolence, the grace of his figure and manners^ 

 and the respectability of his private character, made 

 him so beloved, that it was said of him, 



Dans sea gestes, ges tons, c'est la nature mime, 

 Sous la masque on 1'admire, a decouvtrt on 1'aime. 



Many bon-mots and witty sayings by him were lonp; 



