ophthalmic artery, which subdivides into several small branches that supply the eye and surrounding parts. See CIRCULATION.

Wounds of the carotid trunks are generally from stabs. Suicides have a vague desire to cut them, but rarely cut sufficiently deep by the side of the windpipe. Should either vessel be severed death would result almost immediately. Punctured wounds, however, may not be immediately fatal; they may heal, or a false aneurism (q.v.) may result. These arteries are sometimes the seat of spontaneous or true aneurism. Sir Astley Cooper was the first to tie the common carotid for spontaneous aneurism, in 1805, and since then the operation has been successfully performed many times. Owing to the numerous

interchanges (anastomoses) of branches between vessels of both sides of the head, cutting off the supply of blood through one carotid is seldom followed by impairment of brain structure or function. The common carotid in the horse is the termination of the right arteria innominata. It is a large vessel about an inch long, which emerges from the chest below the windpipe and divides into the right and left carotids. These bend upward, having the windpipe between them, gradually inclining inward at the upper part, where each divides into external and internal carotids, and a large anastomosing branch arising from between these two.

CAR'OTIN (Lat. carota, carrot). An orangeyellow pigment found in the form of amorphous masses in the root of the carrot and, along with xanthophyll, giving that organ its color. It also always accompanies chlorophyll and xanthophyll in the chloroplast, and is the coloring matter of some petals, fruits, and other plant organs. The substances described by the terms erythrophyll, chrysophyll, and etolin are probably carotin. Carotin is a hydrocarbon of the empirical formula CH, and is closely related to xanthophyll, which has the formula CHO, and is possibly an oxidation product of carotin. Carotin is an isomer of lycopin, the orange-red pigment of certain tomato skins. Carotin and xanthophyll both absorb oxygen readily up to 30-40 per cent of their weight, and are thereby transformed to colorless bodies. This has been taken as evidence that they function as oxygen car

riers in respiration. It has also been claimed that they take part in photosynthesis in a similar way, but to a far less degree than chlorophyll. Though carotin closely resembles xanthophyll, it can be distinguished from it by such physical characters as ease of crystallization, solubility in various solvents, slightly different melting points, and spectra. In the Kraus twophase (petrol ether-alcohol) system of chlorophyll extract, the carotin is largely held with chlorophyll in the petrol ether, while the xanthophyll is largely held by the alcohol phase.

CAROTO, kå-ro'tô, GIOVANNI FRANCESCO (1480-1555). A Veronese painter of the Renaissance. He was born in Verona, studied there under Liberale, and later in Mantua under Mantegna, who strongly influenced him. Other influences in his paintings are Bonsignori, Leonardo, Raphael, and Giulio Romano; but he never lost a certain individuality and his rich Veronese color, shown particularly in his landscape backgrounds. His works are numerous in Verona, the best being the much-damaged frescoes of the "History of Tobias" in St. Eufemia. Others are: the fresco of "The Annunciation," San Girolamo (1508); the altar of San Fermo Maggiore (1528); various frescoes and panels in San Giorgio in Braida and several panels in the Pinacoteca Communale. Good examples of his art are in the Castello, Milan, the Chiesa di Carità, Mantua, in the Uffizi and Pitti, Florence, and in the museums of Dresden, Budapest, etc. His works are sometimes confused with those of his brother Giovanni, who was likewise a painter of no mean talent.

CAROUGE, kȧ'roozh'. A town of Switzerland, in the Canton of Geneva, a suburb about one mile south of Geneva, on the left bank of the Arve, at an altitude of 1200 feet (Map: Switzerland, A 2). It has many beautiful villas and a handsome church. There are manufactures of thread, clay pipes, leather, watches, and pottery, as well as of machinery and ironwork. A bridge across the Arve connects the town with Geneva. In 1780 the King of Sardinia, as ruler of Savoy, tried to make Carouge the industrial rival of Geneva, but failed. Pop., 1900, 7400; 1910, 7890.

CARP (Ger. Karpfe, OHG. charpho, Icel. karfi, Welsh carp, Russ. karpů, probably borrowed from the Germanic). A fresh-water fish (Cyprinus carpio), typical of the family Cyprinidæ (q.v.), now acclimated in all parts of the world. The body is robust, compressed, and covered with large scales; head naked; mouth rather small, toothless, with fleshy lips and four well-developed barbels. The dorsal fin is quite long, the anal much shorter. The color is a uniform dark brown above, growing quite light on the ventral side. The carp may attain a weight of 40 to 50 pounds, but the usual weight is much less than this. It thrives best in lakes and ponds, and in streams seeks the quiet, sluggish waters, where it feeds largely on vegetable matter, but will also eat insect larvæ, worms, etc. The carp may reach an age of 200 years. It spawns about June; the eggs, which are small, transparent, and number several hundred thousand, are fastened to aquatic weeds, where they will endure great vicissitudes of weather and temperature. During the winter months it hibernates and does not take food. So exceedingly hardy is it, that it may be kept alive even for days in moist moss if properly

fed, and consequently may be transported great distances with facility.

The original home of the carp was southeastern Asia, where it has been tamed and cultivated since the earliest times by the Chinese and where it is still found wild. It was introduced into northern Europe several centuries ago and transplanted about the fourteenth century to Great Britain, under the name of German carp. From Europe it has been brought casually to North America, and about 1870 a strong effort was made to plant it extensively in the still waters of the United States; this succeeded widely, but the extreme prolificacy of the fish, quickly overcrowding small ponds, and the comparative coarseness of its flesh, which is readily tainted by foul waters, have prevented it finding as great favor with the American public as in German Europe. There are three varieties of carp: (1) the scale carp, which, excepting the head, is entirely covered with scales; (2) the mirror carp (Spiegelkarpfe of the Germans), which has three to four rows of very large scales along the sides, the rest of the body remaining bare; (3) the leather carp (Lederkarpfe), in which the scales are entirely wanting. All these are equally good as food, although a preference is often shown for the scaled variety. To the angler the carp is not a very valuable fish, as he is by no means a free biter. Several other fishes are called carps, notably the European congener called Crucian (q.v.) and the closely allied goldfish; also some entirely different ones, as the seabream and the American carp suckers. Consult Gill, Smithsonian Miscellaneous Collections, vol. xlviii (Washington, 1907). See Plate of CARPS AND EUROPEAN ALLIES.

In

CARP, PETRACHE (1837- ). A Rumanian statesman. He was born at Jassy, studied at Bonn, took part in the overthrow of Cuza, and, after Prince Charles had ascended the throne, entered the diplomatic service. With Blaremberg he founded an anti-liberal journal. 1870-76 he was Minister of Foreign Affairs, in 1892-95 of Commerce, Agriculture, and Domains, and in 1900-01 Premier and Minister of Finance. In 1911 and 1912 he was again head of the ministry. Originally a Conservative, in 1876 he formed a party called the Young Conservatives, or Junimistes. He translated several of Shakespeare's plays into Rumanian.

A

CARPACCIO, kär-pät'chô, VITTORE (VETTOR), called Scarpaccia by Vasari (?-c.1525). Venetian painter of the Renaissance, one of its greatest pageant painters. The researches of Dr. Ludwig in the Venetian archives have disproved the accepted view of his early life. He was not born in Capo d'Istria, where his house is still shown, but in Venice, where his family had lived. In Venice also he spent most of his life and passed his last years. The date of his death is unknown, but he is mentioned as deceased in 1526. It is now established that he studied first with Lazzaro Bastiani, whom Vasari calls his pupil; but he was greatly influenced by Gentile Bellini. He assisted the latter in important pageant pictures, and independently developed the same technical tendencies into a highly original style. His earliest works, "Saints Catharine and Veneranda" (Verona) and a Madonna (Frankforton-Main), are reminiscent of Bastiani. In 1490 he began the great series of nine pictures from the life of St. Ursula, for the Scuola di Sant' Ursula, now in the Venetian Academy.

These are not only his masterpiece, but the finest series of pageant pictures painted in Venice during the fifteenth century. Especially charming are the "Dismissal of the Ambassadors," with remarkable light effects; "The Departure of the Betrothed Pair," distinguished by beautiful and ideal types; and "St. Ursula's Dream," a young girl asleep in the quiet morning light. In quality they are unequal, which is in part due to the work of assistants and to repainting. Hardly less attractive is a second series of nine pictures for the Scuola degli Schiavoni (Slavonians). The episodes from the life of St. George, his battle with the dragon, triumph, and the baptism of the King and Queen are particularly attractive. "St. Jerome in his Study" is a charming representation of a Venetian scholar, while "St. Tryphonius Exorcising the Demon" is naïve beyond expression. About the same time he painted (with the aid of his pupils) for the Scuola degli Albanesi (Albanians) six scenes from the life of Mary, now in the galleries of Bergamo, Milan, Venice, and Vienna. His last great cycle, painted (1511– 20) for the Scuola di Santo Stefano and depicting scenes from the life of that saint, is now in Berlin, Stuttgart, the Brera, and the Louvre. Besides these great cycles Carpaccio painted many single subjects, such as the "Presentation in the Temple" (1510, Academy); a curious picture, "Two Courtesans on a Balcony" (Museo Civico, Venice); the high altar of San Vitale, Venice (1514); "St. George Killing the Dragon" (1516, San Giorgio Maggiore); the quaint Lion of St. Mark (Ducal Palace); three subjects in the cathedral of Capo d'Istria, and a polyptych in the city of Zara. Carpaccio is one of the most able and attractive painters of the early Renaissance in Venice. His pageant pictures are nothing more than delightful genre paintings filled with admirable portraits and illustrating in an incomparable manner Venetian life of his day. Nevertheless, they are rendered primarily for their pictorial qualities. Though sometimes faulty in drawing, they are clear and harmonious in color and show remarkable treatment of light and atmosphere. The authoritative monograph on Carpaccio is by Ludwig and Molmenti (Milan, 1906); Eng. trans. by Cust (London, 1907).

CARPATHIAN MOUNTAINS. A mountain system of central Europe, extending in the form of a broad are along nearly the entire boundary of Hungary east of the Danube (Map: Austria, G 2). The are embraces the plain of Hungary and the elevated basin of Transylvania (Siebenbürgen), separating the former from the Austrian provinces of Moravia, Silesia, Galicia, and Bukowina on the northwest, north, and northeast, and the latter from Rumania on the east and south. Both wings of the arc rest upon the Danube the one terminating near Pressburg, where it is in juxtaposition to the Leitha Range of the Austrian Alps; the other ending at Orsova, where it confronts the northern extension of the Balkans. The length of the system, following the curve, is about 800 miles. The Carpathian system is composed of numerous mountain groups which exhibit a variety of orographic and geological features. On the northwest the main elevations are included in the Kleine Karpaten (Little Carpathians), the Weisses Gebirge (White Range), and the Neutra and Tátra ranges. These ranges, with bordering ranges of the West Beskiden and the Hun

garian Erzgebirge, converge in northern Hungary to form a mountain knot, near the centre of which are the Hohe Tátra Mountains, the loftiest in the entire system. Eastward and southward the Carpathians are continued in a broad curve by the Ost Beskiden and by the Waldgebirge into Transylvania, where the ranges widen out so as to surround on the east and west the basin of Transylvania, whose southern limit is the Transylvanian Alps.

sea.

The Carpathians include no summits that are comparable in elevation to the culminations of the Alps, but the mountains are frequently massive and imposing in appearance. The highest point of the system is the Gerlsdorferspitze of the Hohe Tátra Range, which is 8737 feet. In the same range are the Lomnitzerspitze, 8642 feet; the Eisthalerspitze, 8630 feet; and the Schlagendorferspitze and other peaks exceeding 8000 feet. In the eastern Carpathians there are many peaks from 5000 to over 7000 feet above the The Transylvanian Alps, whose trend in the main is east and west, present an almost unbroken mountain barrier crowned by jagged summits that reach an extreme height of over 8000 feet, the loftiest peak, Negoi, being 8318 feet. In general, the higher elevations of the Carpathians are composed of granite and crystalline rocks, while the outlying lower ranges are formed by upturned and folded sedimentary strata. Mesozoic sandstone is the prevailing formation in the Beskiden, the granite, gneiss, and schist in the Transylvanian Alps. Eruptive igneous rocks are found along the whole system, but are most prominent in the Hungarian Erzgebirge and in the ranges of Transylvania. These regions are noted for their deposits of gold, silver, lead, copper, and other metallic ores, which have been worked for many centuries. The Carpathian system forms the water parting between the drainage basins of the Oder, Vistula, and Dniester, and of the middle Danube. Small lakes frequently occur in the interior of the mountains, particularly in the Hohe Tátra, where more than 100 have been found. Some of them are at great elevations, and many are very deep. These lakes are called by the Hungarians "Eyes of the Sea." There are no glaciers nor perennial snow fields. Numerous passes cross the system, facilitating communication between Hungary and the bordering countries. The Carpathians are clothed with extensive forests of oak, beech, chestnut, and fir, which harbor bears, wolves, and lynxes. HUNGARY; TRANSYLVANIA.

CAR/PATHOS. See SCARPANTO.

See

CARPEAUX, kår'po', JEAN BAPTISTE (1827– 75). One of the foremost French sculptors of the nineteenth century, also an able painter. He was born at Valenciennes, the son of a stonemason, and received his earliest instruction from a friendly local architect, Bernand, and from the sculptor Fernand. In 1842 he went to Paris, earning his way as a porter and messenger. He studied with Duret in the Ecole des Beaux-Arts, and with François Rude, whose influence was the strongest in forming his art. After a brilliant record at the Ecole, he received the Roman prize in 1845. In the five ensuing years of study at Rome he developed a strongly characteristic and personal style in painting as well as in sculpture. A typical example of his work of this period is the "Neapolitan Fisher Boy with a Shell" (Louvre). His chief work at Rome was "Ugolino and his Children" (1862), now in the garden of the Tuileries. Exhibited

at Paris, it was greeted with acclaim, except by the academicians. In 1865 he completed the group "Temperance" in the church of La Trinité, Paris, and in the following years the high relief in the pediment of the Pavilion of Flora in the Louvre. His most celebrated work-"The Dance" on the façade of the Paris Opéra (1869)

precipitated one of the bitterest contests in modern art when the nude figure of "The Dance" was indignantly rejected by the Salon as immoral. The group is a masterpiece of realistic presentation and dramatic movement. During the troubles of the Commune he practiced his art in London. He died at Bécon-Château, near Asnières, Oct. 11, 1875. The principal works of his last period are the "Four Quarters of the World Sustaining the Sphere," in the gardens of the Luxembourg; a monument to Watteau at Valenciennes; a painting representing "Napoleon in his Coffin," in the Museum of Valenciennes, and a bust of the Prince Imperial in the Museum of the City of Paris.

Carpeaux ranks with David d'Angers, Rude, and Rodin (qq.v.) as an epoch-making figure in French sculpture of the nineteenth century. His position is analogous to that held in painting by Delacroix, whom he greatly resembles. In his works naturalism for the first time in the nineteenth century achieves a definite and complete victory in sculpture. Academic smoothness of surface is replaced by a modeling based upon a real anatomical knowledge, the varied surface of which affords ample opportunity for contrast of light and shade. Although little known as a painter, he was very original also in this art. Influenced by the old Spanish masters, he foreshadowed in his contrast of light and shade, and the rendition of values, the achievements of Manet and the Impressionists. Three of his paintings are in the Louvre, which also possesses (besides the important works mentioned above) a fine collection of his portrait busts, including those of Alexandre Dumas fils, his wife, Napoleon III, and the Princess Mathilde. In Valenciennes the Musée Carpeaux, founded in his honor, rejoices in many of his sculptures of the early period and a number of paintings. Over 3000 of his spirited drawings are in the Louvre, the Ecole des Beaux-Arts, and the museums of Paris. Carpeaux's biography has been written by important critics, such as Salelles (Paris, 1869), Claretie (ib., 1875), Chesneau, (ib., 1880), and Riotor (ib., 1906). Consult also Blanc, Les artistes de mon temps (ib., 1875), and Gonse, La sculpture française (ib., 1895).

CAR/PEL (Fr. carpelle, Neo-Lat. carpellum, from Gk. κаprós, karpos, fruit). The name given to the megasporophyll of seed plants (gymnosperms and angiosperms). A sporophyll is the leaflike structure that bears the sporangium, and when there are two kinds of sporangia the two kinds of sporophylls are distinguished as megasporophylls and microsporophylls. In the older terminology the megasporophyll was called the carpel, and the microsporophyll was called the ovule. A carpel, therefore, is the unit structure which bears ovules. There is often confusion in the use of the words "carpel" and "pistil." Pistil is not a word of exactness, for it represents a structure organized into ovary, style, and stigma, whether it consists of one carpel or of several carpels. The so-called "scales" of a pine cone are also carpels which do not inclose the ovules. Ordinarily, however, the word "carpel" is used chiefly of