Page:Cyclopedia of painters and paintings - Volume I.djvu/287

Verona, previous to 1508, his pictures took a local tinge reminiscent of Liberale and Giolfino. He executed important works for Ant. Marià Visconti, in Milan, and for the Marquis of Montferrat, in Casale. Called by Maffei the Proteus of Veronese painters, so varied are his works in style. Among them are: Altarpiece, S. Tommaso, Verona; Christ and Saints, S. Caterina, Resurrection of Lazarus, Virgin and Saints, Verona Gallery; SS. Roch and Sebastian, S. Giorgio, Verona; Madonna and St. Anne, S. Termo Maggiore, ib.; St. Martin on Horseback, S. Anastasia, ib.; St. Ursula and the 11,000 Virgins, S. Giorgio, ib. (1545). Madonna, Städel Institute, Frankfort; do., Collection of Baron Sternburg, Lutschena. Vasari says he was the first Veronese who painted landscapes well. Giovan Francesco had a brother Giovanni Caroto, probably his assistant, but much inferior to him. He is noteworthy only as the first master of Paolo Veronese.—C. & C., N. Italy, i. 481; Vasari, ed. Mil., v. 288; Baldinucci, ii. 44; Burckhardt, 158, 167, 190; Ch. Blanc, École lombarde; Bernasconi, 292; Lermolieff, 167; Lübke, Gesch. ital. Mal., ii. 574.

CARPACCIO (Scarpaccia, Scarpaza), VITTORE, born in Istria about 1450, died after 1522. Venetian school. It is conjectured that Carpaccio went to Constantinople with Gentile Bellini in 1479, and it is clear that the great painter's influence developed his style and affected his colour and drawing, but the first certain date connected with Carpaccio is 1490, when he began to paint the series of nine pictures illustrative of the life of St. Ursula, Venice Academy. Like Gentile Bellini's large works, those of Carpaccio preserve the features of old Venice, and show the variety of costume which gave so much picturesqueness to her squares and water-ways. He had not Bellini's gentleness and sweetness, but was more energetic in action, harder and drier in tone. The picture of the bleeding Christ adored by Angels (1496), Vienna Museum, is painful in subject, and stiff in figure action. Between 1502 and 1508 Carpaccio painted nine small easel pictures and an altarpiece for the school or refuge of distressed Dalmatian seamen, which had been rebuilt under the name of San Giorgio de' Schiavoni. These pictures represent scenes from the lives of Christ and the patron Saints of Dalmatia and Albania, Jerome, George, and Trifon. Eastern costumes and landscapes of an Eastern character abound in them, as in the Baptism of the Gentiles, and the Combat of St. George. The altarpiece represents the Virgin and Child between two angels. The Annunciation (1504), Vienna Academy, the Glory of St. Thomas Aquinas (1507), Stuttgart Museum, and the Burial of the Virgin (1508), Ferrara Gallery, show that Carpaccio's forte lay rather in treating incidents of legendary history than religious episodes. Still, we think that his Presentation in the Temple (1510), Venice Academy, is his masterpiece. Another fine and characteristic work is the Supper at Emmaus, in S. Salvatore, Venice. Other pictures painted before Carpaccio began to fail are the Vocation of St. Stephen (1511), Berlin Museum; his Sermon at the Louvre, and his Dispute with the Doctors (1514), Brera, Milan; and his Martyrdom (1515), Stuttgart. The altarpiece at S. Vitale of this year shows manifest decline "attributable to age, weariness, or much use of assistants." Many later works scattered about in Istrian, Lombard, and Friulian churches show still further decay. The last, of 1519, are two