CARLO, or CARLINO, a painter of considerable celebrity, was born at Florence in 1616. He was a disciple of Jacopo Vignali, and when only eleven years of age he attempted a whole figure of St John, which received extraordinary approbation. Afterwards painted a portrait of his mother, and displayed a new and delicate style, which brought him into notice, and procured him extensive employment at Florence and other parts of Italy. Dolci appears to have used his pencil chiefly in sacred subjects, and bestowed much labour on his pictures. In his manner of working he was remarkably slow; and it is said of him that his brain was affected by seeing Luca Giordano dispatch more business in four or five hours.

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1 On this subject, Dr Vincent published two different tracts. The Origination of the Greek Verb; an Hypothesis. Lond. 1794, 8vo. The Greek Verb analyzed; an Hypothesis, in which the Source and Structure of the Greek Language in general is considered. Lond. 1795, 8vo.

2 Woodhouselee's Memoirs of Lord Kames, vol. ii. p. 142. than he could have executed in as many months. His works are consequently not numerous. He generally painted in a small size, although there are a few pictures by him as large as life. He died at Florence in 1686, leaving a daughter, Agnese, who also painted historical pieces, and arrived at some degree of excellence in copying the works of her father.

Carlo Dolci holds the same rank in the Florentine that Sassoferrato does in the Roman school. Without the possession of much genius or invention, both these artists produced pleasing and highly-finished pictures. The works of Dolci are easily distinguishable by the delicacy of the composition, and by an agreeable tint of colour, improved by judicious management of the chiaro-oscuro, which give his figures a surprising relief. "His pencil," says Pilkington, "was tender, his 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 appearance of ivory than the look of flesh." All his best productions are of a devout description, and most frequently represent the patient suffering of Christ, or the sorrows of the Mater Dolorosa. In these the heads are marked with calm, intellectual beauty, and pathetic emotion, and are peculiarly expressive of pure and tranquil devotion. They are full of sensibility, and yet all unstained by earthly passion. There is, we allow, a want of character and deep shadowing in his pictures, but the colouring and general tone accord with the idea of the passion portrayed: nothing is turgid or bold, harsh or obtrusive: all is modesty, repose, and placid harmony. The best works of this master are the "St Sebastian," the "Four Evangelists," at Florence; "Christ breaking the Bread," in the Marquis of Exeter's collection at Burleigh; and several smaller pictures, which are highly valued, and occupy honourable places in the richest galleries.