See also:

• DOLCI, CARLO, or CARLINO (,616—,686)

DOLCI, CARLO, or CARLINO (,616—,686)  , See also:

• ITALIAN

Italian painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence in May 1616 . He was the See also:

• GRANDSON (Ger. Grandsee)

grandson of a painter on the See also:

• MOTHER

mother's See also:

• SIDE
• SIDE (mod. Eski Adalia)

side, and, became a See also:

• DISCIPLE

disciple of Jacopo Vignali; and when only eleven years of See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age he attempted a whole figure of St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John, and a See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

infant See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ, which received extra-See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary approbation . He afterwards painted a portrait of his mother, and displayed a new and delicate See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style which brought him into See also:

• NOTICE

notice, and procured him extensive employment at Florence (from which See also:

• CITY (through Fr. cite, from Lat. civitas)

city he hardly ever moved) and in, other parts of See also:

• ITALY
• ITALY (Italia)

Italy . See also:

• DOLCI, CARLO, or CARLINO (,616—,686)

Dolci used his See also:

• PENCIL (Lat. penicillus, brush, literally little tail)

pencil chiefly in sacred subjects,and bestowed much labour on his pictures . In his manner of working. he was remarkably slow . It is said that his See also:

• BRAIN (A.S. braegen)

brain was affected by seeing Luca See also:

• GIORDANO, LUCA (1632–1705)

Giordano, in 1682, despatch more business in four or five See also:

• HOURS, CANONICAL

hours than he could have executed in as many months, and that he hence See also:

• FELL
• FELL, JOHN (1625-1686)

fell into a See also:

• STATE
• STATE, GREAT OFFICERS OF

state of hypochondria, which compelled him to relinquish his See also:

• ART

art, and soon brought him to the See also:

• GRAVE

grave . His See also:

• WORKS

works are not very numerous . He generally painted in a small See also:

• SIZE

size, although there are a few pictures by him as large as See also:

• LIFE

life . He died in Florence in See also:

• JANUARY

January i686, leaving a daughter (Agnese), who arrived at some degree of excellence in copying the works of her See also:

• FATHER

father . Carlo Dolci holds somewhat the same See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank in the Florentine that Sassoferrato does in the See also:

• ROMAN

Roman school . Without the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of much See also:

• GENIUS (from Lat. genere, gignere)

genius, invention or See also:

• ELEVATION

elevation of type, both these artists produced highly wrought pictures, extremely attractive to some tastes . The works of Dolci are easily distinguishable by the delicacy of the See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, and by an agreeable tint of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, improved by judicious management of the See also:

• CHIAROSCURO (from the Ital. chiaro, Iight or brightness, and oscuro, darkness or shade)

chiaroscuro, which gives his figures a striking See also:

• RELIEF

relief; he affected the use of See also:

• ULTRAMARINE

ultramarine, much loaded in tint .

" His pencil," says Pilkington, " was See also:

• TENDER

tender, his See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch inexpressibly neat, and his colouring transparent; though he has often been censured for the excessive labour bestowed on his pictures, and also for giving his carnations more of the See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance of See also:

• IVORY (Fr. ivoire, Lat. ebur)
• IVORY, SIR JAMES (1765-1842)

ivory than the look of flesh." All his best productions are of a devout description; they. frequently represent the patient suffering of Christ or the sorrows of the Mater Dolorosa . Dolci was, in fact, from See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early youth, exceedingly pious; it is said that during See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

passion See also:

• WEEK (from A.S. wicu, Germanic *wikon, probably=change, turn)

week every See also:

• YEAR

year he painted a See also:

• HALF

half-figure of the Saviour . His sacred heads are marked with pathetic or at least strongly sentimental emotion . There is a want of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character in his pictures, and his grouping lacks harmonious unison, but the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone accords with the See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea of the passion portrayed . Among the best works of this See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master are the " St See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian "; the " Four Evangelists, at Florence; " Christ Breaking the See also:

• BREAD

Bread," in the See also:

• MARQUESS (1760-1842)
• MARQUESS, or MARQUIS (Fr. marquis, Ital. marchese; from med. Lat. marchio, marchisus, i.e. comes marchiae, " count of the March ")

marquess of See also:

• EXETER
• EXETER, EARL, MARQUESS AND DUKE OF

Exeter's collection at Burleigh; the " St See also:

• CECILIA, SAINT

Cecilia " in See also:

• DRESDEN

Dresden; an " See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi "; and in especial " St See also:

• ANDREW (Gr. 'AvBp4as, manly)
• ANDREW, JOHN ALBION (1818-1867)

Andrew praying before his Crucifixion," in the Pitti See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

gallery, his most important composition, painted in 1646; also several smaller pictures, which are highly valued, and occupy See also:

• HONOURABLE (Fr. honorable, from Lat. honorabilis, worthy of honour)

honourable places in the richest galleries . (W . M .