lavonic word _Chrb_, which means
mountain-range. As _Chrawat_, it was first applied to the inhabitants
of the region, whence it passed in the form _Krapat_ or _Karpa_ as
the name of mountain system. In official Hungarian documents of the
13th and 14th centuries the Carpathians are named Thorchal or
Tarczal, and also _Montes Nivium_.

CARPATHUS (Ital. _Scarpanto_), an island about 30 m. south-west of
Rhodes, in that part of the Mediterranean which was called, after it,
the Carpathian Sea (_Carpathium Mare_). It was both in ancient and
medieval times closely connected with Rhodes; it was held by noble
families under Venetian suzerainty, notably the Cornari from 1306 to
1540, when it finally passed into the possession of the Turks. From its
remote position Carpathus has preserved many peculiarities of dress,
customs and dialect, the last resembling those of Rhodes and Cyprus.

See L. Ross, _Reisen auf den gr. Inseln_ (Halle, 1840-1845); T. Bent,
_Journal of Hellenic Studies_, vi. (1885), p. 235; R.M. Dawkins,
_Annual of British School at Athens_, ix. and x.

CARPEAUX, JEAN BAPTISTE (1827-1875), French sculptor, was born at
Valenciennes, France, on the 11th of May 1827. He was the son of a
mason, and passed his early life in extreme poverty. In 1842 he came to
Paris, and after working for two years in a drawing-school, was admitted
to the Ecole des Beaux-Arts on the 9th of September 1854. The Grand Prix
de Rome was awarded to his statue of "Hector bearing in his arms his son
Astyanax." His first work exhibited at the Salon, in 1853, did not show
the spirit of an innovator, and was very unlike the work of his master
Rude. At Rome he was fascinated by Donatello, and yet more influenced by
Michelangelo, to whom he owes his feeling for vehement and passionate
action. He sent from Rome a bust, "La Palombella," 1856; and a
"Neapolitan Fisherman," 1858. This work was again exhibited in the Salon
of 1859, and took a second-class medal; but it was not executed in
marble till 1863. In his last year in Rome he sent home a dramatic
group, "Ugolino and his Sons," and exhibited at the same time a "Bust of
Princess Mathilde." This gained him a second-class medal and the favour
of the Imperial family. In 1864 he executed the "Girl with a Shell," the
companion figure to the young fisherman; and although in 1865 he did not
exhibit at the Salon, busts of "Mme. A.E. Andre," of "Giraud" the
painter, and o