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CARRACCI CARRERAS. 



CARRACCI, LEWIS, AUGUSTIXK, and HANNIBAL, 

 the three founders of the Bologna, or, as it has been 

 called, the Eclectic school of painting. 



Luilin-ii-u or Lftria Carracci, son ofa butcher, boni 

 1555, at Bologna, appeared, at first, to be more fit 

 for grinding colours than for transferring them to 

 canvas. But his slowness did not, in tact, arise 

 from deficiency of talent, but from zeal for excellence. 

 He detested all that was called ideal, and studied 

 only nature, which he imitated with great care. At 

 Florence, he studied wider Andrea del Sarto, and 

 enjoyed the instruction of Passignano. He went to 

 Parma for the purpose of studying Correggio, who 

 was then imitated by almost all the Florentine 

 painters. At Bologna, he endeavoured to obtain 

 popularity for his new principles among the young 

 artists, and united himself with his cousins, Agostino 

 and Annibale Carracci, whom he sent, in 1580, to 

 Parma and Venice. On their return to Bologna, the 

 three artists began to acquire reputation, but met 

 with the most violent opposition. Annibale, the 

 most resolute of them, was of opinion, that they 

 should refute the slanders in circulation by the ex- 

 cellence of their productions. Ludovico resolved to 

 establish an academy for painters at Bologna, which 

 he called the accademin degli incamminati (from in- 

 camminare, to put in the way). His first principle 

 was, that the study of nature must be united with 

 the imitation of the best masters. He soon gave an 

 example of this principle in the Prophecy of John the 

 Baptist, in the monastery of the Carthusians, imitat- 

 ing', in single figures, the style of Raphael, Titian, 

 and Tintoretto. The finest works of Ludovico are 

 at Bologna; for instance, those which adorn the 

 hall in the monastery of St Michael, in Bosco, and 

 the Annunciation, in the cathedral at Bologna. He 

 excelled in architectural views and in drawing, and, 

 in general, was very thorough in all the branches of 

 his art. After having enjoyed his fame for a long 

 time, at least as long as his cousins were alive, Lu- 

 dovico died, in 1619, almost in poverty, seventeen 

 years after the death of Agostino, and ten after that 

 of Annibale. The chief reproach to which he is 

 liable is, that he did not unite the study of the anti- 

 ques with Uiat of nature. His colouring lias also 

 been blamed. 



Paolo Carracci, a brother of Ludovico, is of no 

 importance. 



Agostino or Augustine Carracci, mentioned above, 

 was born in 1558, at Bologna. He soon became one 

 of the most accomplished disciples of Ludovico, and 

 excelled particularly in invention. He engraved 

 more pieces than he painted, in order to please his 

 brother Annibale, who became envious of his fame, 

 after a picture of Agostino had obtained a prize in 

 preference to one of his own, and another excellent 

 picture the Communion of St Jerome had gained 

 his brother universal admiration. Subsequently, 

 Agostino accompanied Annilxile to Rome, and as- 

 sisted him in painting the Farnesian gallery. As 

 many persons said that the engraver worked better 

 than the painter, Annibale removed his brother, 

 under pretext that his style, though elegant, was not 

 grand enough. Agostino went then to the court of 

 the duke or Parma, and painted there a picture re- 

 presenting the heavenly, the earthly, and the venal 

 love. There was only one figure wanting, when, 

 exhausted by labour and mortification, he died, in 

 1601. He wrote a treatise on perspective and archi- 

 tecture. As an engraver, he deserves great praise, 

 and often corrected the imperfect outlines of his ori- 

 ginals. Among^his engravings are many obscene 

 ones, which have become rare. 



Anni&ale or Hannibal Carracci, his brotner, born 

 1560, at Bologna, worked, at first, with his father, 



who was a tailor. By the advice of his cousin Lu- 

 dovico, he learned drawing, and made the most 

 astonishing progress, copying first the pieces of Cor- 

 reggio, Titian, and Paul Veronese, and painting, like 

 them, small pictures. before he undertook large ones. 

 In the academy founded by the Carracci, he taught 

 the rules of arrangement and distribution of lioiire-;. 

 He is one of the greatest imitators of Correggio- 

 His St Rogue distributing Alms, now in Dresden, was 

 tlie first painting which gave him reputation. His 

 Genius of Glory is likewise celebrated. In the Far- 

 nesian gallery, which he painted, there breathes an 

 antique elegance, and all the grace of Raphael. You 

 find there imitations of Tibaldi (who painted at Bo- 

 logna, alxmt 1550, with Nicolo del Abate), or 

 Michael Angelo (the style, indeed, somewlmt soft- 

 ened), and the excellencies of the Venetian and 

 Lombard Schools. Out of Bologna, he is acknow- 

 ledged as the greatest of the Carracci. In that city, 

 however, Ludovico is more admired. Agostino, 

 perhaps, had more invention, and Ludovico more 

 talent for teaching; but Annibale had a loftier 

 spirit, and his style is more eloquent and noble. He 

 died of grief (1609), at the ingratitude of cardinal 

 Farnese, who paid him for twenty years' labour with 

 500 gold scudi. He was buried at the side of Ra- 

 phael, in the Pantheon of Rome. One of the finest 

 pictures of Annibale Carracci is now in the posses- 

 sion of the earl of Carlisle at Castle-Howard. The 

 subject is a dead Christ surrounded by the three 

 Maries, of which there is a beautiful engraving by 

 Rousselet. 



Francesco Carracci, another brother, is unimportant. 



Antonio Carracci, a natural son of Agostino, born, 

 1583, at Venice, has more merit. Among the many 

 well-known disciples of the Carracci, Domenichino 

 deserves to be particularly named. 



CARRERAS ; three brothers, distinguished in the 

 revolution of Chili. Jose Miguel Carrera, Juan 

 Jose Carrera, and Luis Carrera, were the sons of a 

 rich landholder in Santiago, don Ignacio Carrera. 

 One of them served in Lurope until 1811, and at- 

 tained the rank of lieutenant-colonel and commandant 

 of a regiment of hussars. The three brothers took 

 an active part in the revolution from its commence, 

 ment, and, in November, 1811, obtained the effective 

 control of the revolutionary government ; don Jose 

 Miguel, the eldest, being a member of the junta, 

 and colonel in the army, and the two younger bro- 

 thers being also colonels in different corps, and the 

 military being strongly in their favour. They con- 

 tinued in the possession of power until 1813, when 

 they were taken prisoners by the Spaniards, and 

 confined at Taloa. During their confinement, O'Hig- 

 gins placed himself at the head of affairs. But they 

 soon regained their liberty, and, by means of their 

 popularity with the army, were enabled to displace 

 O'Higgins, and resume their former influence, al- 

 though not without a conflicj with their antagonist. 

 They became reconciled to him, however, anu acted 

 in concert with him at the battle of Rancagua, in 

 October, 1814, in which the patriots were defeated, 

 and in consequence of which the Carreras and their 

 associates fled across the Andes. Don Jose Miguel 

 left South America for the United States, seeking 

 supplies of men and money. Meanwhile, don Juan 

 Jose and don Liu's remained in Buenos Ayres, where 

 they were detained, on their parole, by Pueyrredon, 

 and not allowed to join the army sent for the libera- 

 tion of Chili, commanded by their personal enemy, 

 O'Higgins, and his bosom friend, general San 

 Martin. Don Jose Miguel found them in this condi- 

 tion upon his return in 1817, and was himself arrested 

 at Buenos Ayres, but made his escape. His brother* 

 fled from Buenos Ayres, but were apprehended, 



