Ávila, dedicated to a stricter observance of the rule of the
order. In 1568 St. JOHN OF THE CROSSfounded the first
community of reformed Carmelite friars at Duruelo, and
the movement gradually spread. The Discalced Carmelites
(as they were called because they wore sandals instead of
shoes to symbolize the austerity of their regime) were
poor, held no property as individuals, had no contact with
the secular world, and led ascetic lives of prayer and con-
templation. They encountered much opposition, particu-
larly from those within the order who continued to follow
the “mitigated rule,” but in 1579 a separate province of
the reformed Carmelites was constituted, and in 1593 they
were confirmed as a distinct order by papal ordinance.
Caro, Annibale (1507–1566) Italian scholar, poet, and
translator
Caro was born at Civitanova Marche, near Ancona, and
studied in Florence, where he was a friend of Benedetto
VARCHI. After living for a time at the court of Naples, he
became secretary to Duke Pierluigi Farnese and, after Pier-
luigi’s murder (1547), to Cardinal Alessandro Farnese. A
thoroughly professional man of letters, Caro wrote a com-
edy in prose, Gli straccioni (The ragamuffins; 1554),
which combined classical influence with characters based
on real persons in the Rome of Caro’s day, a collection of
Petrarchan poems entitled Rime (1557), and satirical son-
nets. His quarrel with Ludovico CASTELVETRO, who had
criticized one of his poems, resulted in Castelvetro’s flee-
ing into exile after Caro had accused him of having
Lutheran sympathies. Two works, published posthu-
mously, firmly established Caro’s reputation among future
generations: Lettere familiari (1573, 1575), a collection
of 1000 letters, rhetorical in style and modeled on
PETRARCH’s; and the Eneide (1581), a blank-verse transla-
tion of Virgil’s Aeneid which exercised an influence on Ital-
ian verse up to the 19th century.
Carpaccio, Vittore (c. 1457–c. 1526) Italian painter
A native of Venice, Carpaccio was probably taught by Laz-
zaro Bastiano (c. 1425–1512), by whom he was pro-
foundly influenced, and also absorbed many features of
the works of Gentile BELLINIand ANTONELLO DA MESSINA.
Although his career is poorly documented, Carpaccio was
noted for his narrative skill and psychological insight and
was commissioned by the Venetian confraternities (scuole)
to execute several major cycles of large paintings, notably
the nine pictures in The Legend of St. Ursula (1490–95; Ac-
cademia, Venice), which was commissioned by the Scuola
di Sant’Orsola. His cycle of nine Scenes from the Lives of St.
George and Other Saints (1502–07; also Accademia,
Venice), painted for the Scuola di San Giorgio degli Schi-
avone, represents his mature style and accurate observa-
tion of naturalistic detail. Subsequent cycles of scenes
from the lives of the Virgin (c. 1504) and St. Stephen
(1511–20) are now scattered. Other works include an un-
dated painting of Courtesans (Museo Correr, Venice), the
altarpiece of the Presentation of Christ in the Temple (1510;
Accademia, Venice), and his last dated works, the two
organ shutters for the Duomo at Capodistria (1523).
Much admired in the 19th century by John Ruskin and
others, Carpaccio was also one of the first artists to exe-
cute notable townscapes, which have documentary value
in depicting the life of contemporary Venice.Carpi, Girolamo da (1501–1556) Italian painter
A pupil of Benvenuto Garofolo in his native Ferrara, Carpi
also visited Parma and Modena where he studied and
made copies of the works of CORREGGIOand PARMIGIAN-
INO. He undertook commissions for portraits and pro-
duced original compositions for churches in Bologna and
Ferrara, including three pictures in the cathedral in Fer-
rara. He painted for a time in Rome and some of his work,
for example the Adoration of the Magi for San Martino
Maggiore in Bologna, shows the influence of the Roman
style. His Roman sketchbook shows his interest in antique
decorative motifs. He died in Ferrara.Carracci, Annibale (1560–1609) Italian painter
The most gifted member of the Carracci family of Bologna,
he trained as a fresco painter with his brother Agostino
(1557–1602) and his cousin Lodovico in his native city.
On study trips to Parma and Venice he admired the works
of CORREGGIOand TITIAN. His earliest surviving pictures
are genre paintings, such as The Butcher’s Shop (c. 1582;
Christ Church, Oxford) and caricature drawings. Monu-
mental compositions were what he came to excel at, and
he painted a number of large altarpieces. In 1585 the Car-
racci founded an academy called the Incamminati in
Bologna, the teaching at which aimed to revive the canons
of classical art; it played an important part in the develop-
ment of a classical baroque style.
In 1595 Carracci was invited to Rome by Cardinal
Odoardo Farnese to decorate the ceiling of the Camerino
in the Palazzo Farnese with frescoes on classical themes.
Two years later he began a larger work, which is consid-
ered to rank with MICHELANGELO’s Sistine ceiling and
RAPHAEL’s decorations in the Vatican and Farnesina, from
both of which Carracci drew inspiration. This was the
decoration of the ceiling of the Galleria Farnese in the
Palazzo Farnese on the theme of The Loves of the Gods, a
series of pictures within an illusionistic framework of ar-
chitecture and gilt frames that required over 1000 prepara-
tory drawings. It was completed in 1604. His easel
paintings at this time consisted of landscapes and history
paintings such as Domine, Quo Vadis? (c. 1602; National
Gallery, London). This, like many of his pictures, in no-
table for its powerful use of gesture. The language of ges-
ture in painting owes much to Carracci, as does the ideal
classical landscape used by later artists such as Nicolas
Poussin. In 1605 Carracci became ill with what was de-CCaarrrraaccccii,, AAnnnniibbaallee 9911