Chapter XIII: Front Matter (13)

CARTIER, JACQUES (1491-1557), French navigator, discoverer of the Canadian river St Lawrence, was born at St Malo in Brittany. Of his early life nothing is known. On the suppression by Admiral Chabot of the trade to Brazil, an expedition consisting of two ships and sixty-one men was despatched from St Malo under Cartier on the 20th of April 1534, to look for a north-west passage to the East. Cartier reached Newfoundland on the 10th of May, and at once entered the strait of Belle Isle, then known to the fishermen as the bay of Castles. While the ships renewed their supply of wood and water in Belles Amours harbour on the north side of the strait, the long-boats discovered that the coast farther west was barren, rocky and uninviting. In view of this Cartier set sail on Monday, the 15th of June, for the south side of the strait, by following which he was led down almost the whole west coast of Newfoundland. Off St George's Bay a storm drove the ships out into the gulf, but on resuming his course Cartier fell in with the Bird Rocks. The island south of these he named Brion Island, after Chabot. Cartier mistook our Magdalen and Prince Edward Islands for the main shore on the south side of this inland sea. Following the coast of New Brunswick northward he was greatly disappointed to discover Chaleur Bay was not a strait. During a ten days' stay in Gaspe Harbour Cartier made friends with a tribe of Huron-Iroquois Indians from Quebec, two of whom he carried off with him. A mirage deceived him into thinking the passage up the river south of Anticosti was a bay, whereupon he proceeded to coast the southern, eastern and northern shores of Anticosti. On discovering the passage between this island and the Quebec shore a council was held, at which it was decided to postpone the exploration of this strait until the following year. Heading eastward along the Quebec shore, Cartier soon regained the Strait of Belle Isle and, entering the Atlantic on the 15th of August, reached St Malo in safety on the 5th of September.

Cartier set sail again from St Malo with three vessels on the 16th of May 1536, and passing through the strait of Belle Isle anchored on the 9th of August in Pillage Bay, opposite Anticosti. The next day he named this the bay of St Lawrence. In course of time the name spread to the gulf and finally to the river. Proceeding through the passage north of Anticosti, Cartier anchored on the 1st of September at the mouth of the Saguenay, which the two Indians who had passed the winter in France informed him was the name of a kingdom "rich and wealthy in precious stones." Again on reaching the island of Orleans, so named after the third son of Francis I., they told Cartier he was now in the kingdom of Canada, in reality the Huron-Iroquois word for village. Leaving his two larger vessels in the St Charles, which there enters the St Lawrence, Cartier set off westward with the bark and the long-boats. The former grounded in Lake St Peter, but in the latter he reached, on the 2nd of October, the Huron-Iroquois village of Hochelaga on the site of the city of Montreal. Further progress was checked by the Lachine Rapid. From the top of Mount Royal, a name still in use, Cartier beheld the St Lawrence and the Ottawa stretching away to the west. On his return to the St Charles, where during the winter twenty-five men died of scurvy, Cartier sought further information about the rich country called Saguenay, which he was informed could be reached more easily by way of the Ottawa. In order to give Francis I. authentic information of this northern Mexico, Cartier seized the chief and eleven of the headmen of the village and carried them off to France. This time he passed south of Anticosti and, entering the Atlantic through Cabot Strait, reached St Malo on the 16th of July 1537.

Francis I. was unable to do anything further until the spring of 1541, when Cartier set sail with five vessels and took up his quarters at Cap Rouge, 9 m. above Quebec. A soldier, the seigneur de Roberval, had been chosen to lead the men to the conquest of Saguenay; but when he did not arrive, Cartier made a fresh examination of the rapid of Lachine, preparatory to sending the men up the river Ottawa. Roberval at length set sail in April 1542, but on reaching St John's, Newfoundland, met Cartier on his way back to France. In the summer of 1543, Cartier was sent out to bring home Roberval, whose attempt to make his way up the Ottawa to this mythical Saguenay had proved futile. From 1544 until his death at St Malo, on the 1st of September 1557, Cartier appears to have done little else than give technical advice in nautical matters and act as Portuguese interpreter.

A critical edition of Cartier's _Brief Recit de la navigation faicte
es isles de Canada_ (1545), from the MSS., has been published by the
university of Toronto. The best English version is that by James
Phinney Baxter, published at Portland, Maine, in 1906. (H. P. B.)

CARTILAGE (Lat. _cartilago_, gristle), the firm elastic and gristly connective tissue in vertebrates. (See CONNECTIVE TISSUES and JOINTS.)

CARTOON (Ital. _cartone_, pasteboard), a term used in pictorial art in two senses, (1) In painting, a cartoon is used as a model for a large picture in fresco, oil or tapestry, or for statuary. It was also formerly employed in glass and mosaic work. When cartoons are used in fresco-painting, the back of the design is covered with black-lead or other colouring matter; and, this side of the picture being applied to the wall, the artist passes over the lines of the design with a point, and thus obtains an impression. According to another method the outlines of the figures are pricked with a needle, and the cartoon, being placed against the wall, is "pounced," i.e. a bag of black colouring-matter is drawn over the perforations, and the outlines are thus transferred to the wall. In fresco-painting, the portions of the cartoon containing figures were formerly cut out and fixed (generally in successive sections) upon the moist plaster. Their contour was then traced with a pointed instrument, and the outlines appeared lightly incised upon the plaster after the portion of the cartoon was withdrawn. In the manufacture of tapestries upon which it is wished to give a representation of the figures of cartoons, these figures are sometimes cut out, and laid behind or under the woof, to guide the operations of the artist. In this case the cartoons are coloured.

Cartoons have been executed by some of the most distinguished masters; the greatest extant performances in this line of art are those of Raphael. They are seven in number, coloured in distemper; and at present they adorn the Victoria and Albert Museum, in South Kensington, having been removed thither from their former home, the palace of Hampton Court. With respect to their merits, they count among the best of Raphael's productions; Lanzi even pronounces them to be in beauty superior to anything else the world has ever seen. Not that they all present features of perfect loveliness, and limbs of faultless symmetry,--this is far from being the case; but in harmony of design, in the universal adaptation of means to one great end, and in the grasp of soul which they display, they stand among the foremost works of the designing art. The history of these cartoons is curious. Leo X. employed Raphael in designing (in 1515-1516) a series of Scriptural subjects, which were first to be finished in cartoons, and then to be imitated in tapestry by Flemish artists, and used for the decoration of the Sistine Chapel. Two principal sets of tapestries were accordingly executed at Arras in Flanders; but it is supposed that neither Leo nor Raphael lived to see them. The set which went to Rome was twice carried away by invaders, first in 1527 and afterwards in 1798. In the first instance they were restored in a perfect state; but after their return in 1814 one was wanting--the cupidity of a Genoese having induced him to destroy it for the sake of the precious metal which it contained. Authorities differ as to the original number of cartoons, but there appear to have been twenty-five,--some by Raphael himself, assisted by Gianfrancesco Penni, others by the surviving pupils of Raphael. The cartoons after which the tapestries were woven were not, ~~ it would seem, restored to Rome, but remained as lumber about the manufactory in Arras till after the revolution of the Low Countries, when seven of them which had escaped destruction were purchased by Charles I., on the recommendation of Rubens. They were found much injured, "holes being pricked in them for the weavers to pounce the outlines, and in other parts they were almost cut through by tracing." It has never been ascertained what became of the other cartoons. Three tapestries, the cartoons of which by Raphael no longer exist, are in the Vatican,--representing the stoning of St Stephen, the conversion of St Paul, and St Paul in prison at Philippi.

Besides the cartoons of Raphael, two, to which an extraordinary celebrity in art-history attaches, were those executed in competition by Leonardo da Vinci and by Michelangelo--the former named the Battle of the Standard, and the latter the Cartoon of Pisa--soldiers bathing, surprised by the approach of the enemy. Both these great works have perished, but the general design of them has been preserved. In recent times some of the most eminent designers of cartoons have been masters of the German school,--Cornelius, Kaulbach, Steinle, Fuhrich, &c.; indeed, as a general rule, these artists appear to greater advantage in their cartoons than in the completed paintings of the same compositions. In England cartoon-work developed considerably in 1843 and 1844, when a competition was held for the decoration of the new Houses of Parliament. Dyce and Maclise left examples of uncommon mark in this line. The cartoon by Fred. Walker, A.R.A., made to advertise the dramatic version of Wilkie Collins's _Woman in White_, is now at the Tate Gallery; and cartoons by Ford Madox Brown are in the Victoria and Albert Museum, South Kensington. (W. M. R.)

(2) "Cartoon" is also a term now applied to the large political drawings in the humorous or satirical papers of the day. At an earlier period satirical prints were styled "caricatures," and were issued separately. Gillray, Rowlandson, the three Cruikshanks, Heath and others were popular favourites in this class of design. Even the insignificant little cuts by Robert Seymour in _Figaro in London_, the _diableries_ in _The Fly_, and the vulgar and rancorous political skits identified with the flood of scurrilous little papers of the time, were dignified by the same term. The long series of _Political Sketches_ by "H.B." (John Doyle) were the first examples of unexaggerated statement, and fair and decorous satire. With the advent of _Punch_ and its various rivals (_The Peep-Show, The Great Gun, Diogenes_ and the like), the general tone was elevated. _Punch_ at first adopted the word "pencilling" to describe the "big cut," which dealt variously with political and social topics. But when in 1843 there was held in Westminster Hall the great exhibition of "cartoons" from which selection was to be made of designs for the decoration in fresco of the new Houses of Parliament, _Punch_ jocularly professed to range himself alongside the great artists of the day; so that the "mad designe" of the reign of Charles I. became the "cartoon" of that of Queen Victoria. John Leech's drawing in No. 105 of that journal was the first caricature to be called a cartoon: it was entitled "Substance and Shadow: the Poor ask for Bread, and the Philanthropy of the State accords--an Exhibition." Later, _Punch_ dropped the word for a while, but the public took it up. Yet the _New English Dictionary_ curiously attributes the first use of it to Miss Braddon in 1863.

In England the cartoon, no longer a weapon of venomous attack, has come to be regarded as a humorous or sarcastic comment upon the topic uppermost in the nation's mind, a witty or saturnine illustration of views already formed, rather than as an instrument for the manufacture of public opinion. It has almost wholly lost its rancour; it has totally lost its ferocity--the evolutionary result of peace and contentment, for satire in its more violent and more spontaneous form is but the outcome of the dissatisfaction or the rage of the multitude. The cartoon, it is agreed, must be suggestive; it must present a clear idea lucidly and, if possible, laughably worked out; and, however reserved or restrained it may be, or even, when occasion demands (as in the case of Sir John Tenniel and some of his imitators), however epic in intuition, it must always figure, so to say, as a leading article transformed into a picture. (See CARICATURE and ILLUSTRATION.) (M. H. S.)

CARTOUCHE (a French word adapted from the Ital. _cartoccio_, a roll of paper, Med Lat. _carta_, for _charta_, paper), originally a roll of paper, parchment or other material, containing the charge of powder and shot for a firearm, a cartridge (q.v.), which itself is a corruption of cartouche. The term was applied in architecture to various forms of ornamentation taking the shape of a scroll, such as the volute of an Ionian capital. It was particularly used of a sculptured tablet in the shape of a partly unrolled scroll on which could be placed an inscription or device. Such "cartouches" are used for titles, &c., on engravings of maps, plans, and the like. The arms of the popes and ecclesiastics of high birth were borne on an oval cartouche; and it is thus particularly applied, in Egyptian archaeology, for the oblong device with oval ends, enclosing the names of royal personages on the monuments. It is properly an oval formed by a rope knotted at one end. An amulet of similar shape, as the symbol of the "name," was worn by men and women as a protection against the blotting out of the name after death.

CARTRIDGE (corruption of Fr. _cartouche_), a case, of brass or other metal, cardboard, silk, flannel, &c., containing an explosive charge, and usually the projectile also, for small arms and ordnance (see AMMUNITION).

CARTWRIGHT, EDMUND (1743-1823), English inventor, younger brother of Major John Cartwright (q.v.), was born at Marnham, Nottinghamshire, on the 24th of April 1743, and educated at Wakefield grammar school. He began his academical studies at University College, Oxford, and in 1764 he was elected to a fellowship at Magdalen. In 1770 he published _Armine and Elvira_, a legendary poem, which was followed in 1779 by _The Prince of Peace_. In 1779 he was presented to the rectory of Goadby Marwood, Leicestershire, to which in 1786 was added a prebend in the cathedral of Lincoln. He took the degree of D.D. at Oxford in 1806. He would probably have passed an obscure life as a country clergyman had not his attention been accidentally turned in 1784 to the possibility of applying machinery to weaving. The result was that he invented a power-loom, for which he took out a patent in 1785; it was a rude contrivance, though it was improved by subsequent patents in 1786 and 1787, and gradually developed into the modern power-loom. Removing to Doncaster in 1785, he started a weaving and spinning factory; it did not, however, prove a financial success, and in 1793 he had to surrender it to his creditors. A mill at Manchester, in which a number of his machines were installed, was wilfully destroyed by fire in 1791. In 1789 he patented a wool-combing machine, for which he took out further patents in 1790 and 1792; it effected large economies in the cost of manufacture, but its financial results were not more satisfactory to its inventor than those of the power-loom, even though in 1801 parliament extended the patent for fourteen years. In 1807 a memorial was presented to the government urging the benefits that had been conferred on the country by the power-loom, and the House of Commons voted him L10,000 in 1809. He then purchased a small farm at Hollander, near Sevenoaks, Kent, where he spent the rest of his life. He died at Hastings on the 30th of October 1823. Other inventions of Cartwright's included a cordelier or machine for making rope (1792), and an engine working with alcohol (1797), together with various agricultural implements.

CARTWRIGHT, JOHN (1740-1824), English parliamentary reformer, was born at Marnham in Nottinghamshire on the 17th of September 1740, being the elder brother of Edmund Cartwright, inventor of the power-loom. He was educated at Newark grammar school and Heath Academy in Yorkshire, and at the age of eighteen entered the navy. He was present, in his first year of service, at the capture of Cherbourg, and served in the following year in the action between Sir Edward Hawke and Admiral Conflans. Engaged afterwards under Sir Hugh Palliser and Admiral Byron on the Newfoundland station, he was appointed to act as chief magistrate of the settlement; and the duties of this post he discharged for five years (1765-1770). Ill-health necessitated his retirement from active service for a time in 1771. When the disputes with the American colonies began, he saw clearly that the colonists had right on their side, and warmly supported their cause. At the beginning of the war he was offered the appointment of first lieutenant to the duke of Cumberland, which would have put him on the path of certain promotion. But he declined to fight against the cause which he felt to be just. In 1774 he published his first plea on behalf of the colonists, entitled _American Independence the Glory and Interest of Great Britain._ In the following year, when the Nottinghamshire Militia was first raised, he was appointed major, and in this capacity he served for seventeen years. He was at last illegally superseded, because of his political opinions. In 1776 appeared his first work on reform in parliament, which, with the exception of Earl Stanhope's pamphlets (1774), appears to have been the earliest publication on the subject. It was entitled, _Take your Choice_--a second edition appearing under the new title of _The Legislative Rights of the Commonalty vindicated_. The task of his life was thenceforth chiefly the attainment of universal suffrage and annual parliaments. In 1778 he conceived the project of a political association, which took shape in 1780 as the "Society for Constitutional Information," including among its members some of the most distinguished men of the day. From this society sprang the more famous "Corresponding Society." Major Cartwright worked unweariedly for the promotion of reform. He was one of the witnesses on the trial of his friends, Horne Tooke, John Thelwall and Thomas Hardy, in 1794, and was himself indicted for conspiracy in 1819. He was found guilty in the following year, and was condemned to pay a fine of L100. He died in London on the 23rd of September 1824. He had married in 1780, but had no children. In 1831 a monument from a design by Macdowell was erected to him in Burton Crescent where he had lived.

_The Life and Correspondence of Major Cartwright_, edited by his niece
F.D. Cartwright, was published in 1826.

CARTWRIGHT, PETER (1785-1872), American Methodist Episcopal preacher, was born on the 1st of September 1785 in Amherst county, Virginia. His father, a veteran of the War of Independence, took his family to Kentucky in 1790, and lived near Lancaster until 1793, and then until 1802 in Logan county near the Tennessee line. Peter received little education, and was a gambler at cards and horse-racing until 1801, when he heard John Page preach. In June he was received into the church; in May 1802 was licensed as a regular exhorter, becoming known as the "Kentucky Boy"; in the autumn of 1802 was licensed to form the Livingston circuit around the mouth of the Cumberland river; in 1806 was ordained deacon by Bishop Asbury, and in 1808 presiding elder by Bishop McKendree, under whose direction he had studied theology. He was presiding elder of the Wabash district in 1812, and of Green river district in 1813-1816, and, after four years on circuit in Kentucky and two as presiding elder of the Cumberland district, was transferred in 1823 to the Illinois conference, in which he was presiding elder of various districts until 1869. Up to 1856 he preached some 14,600 times, received some 10,000 persons into the church, and baptized some 12,000 persons. He died near Pleasant Plains, Sangamon county, Illinois, on the 25th of September 1872. He was a typical backwoods preacher, an able, vigorous speaker, and a racy writer.

See the _Autobiography of Peter Cartwright, the Backwoods Preacher_,
edited by W.P. Strickland (New York, 1856).

CARTWRIGHT, SIR RICHARD JOHN (1835- ), Canadian statesman, was born in Kingston, Canada, on the 4th of December 1835, son of the Rev. R.D. Cartwright, chaplain to H.M. Forces. In 1863 he entered the Canadian parliament as a Conservative, but soon after federation in 1867 quarrelled with his party on the question of their financial policy, which he considered extravagant. By 1870 the breach was complete, and in 1873 he became finance minister of the Liberal ministry of the Hon. Alexander Mackenzie. His honesty and economy were undoubted, but the latter quality was sometimes pushed to extremes. From 1878 to 1896 he was the chief financial critic on the side of the Liberal opposition, and on the accession of Sir Wilfrid Laurier to power in 1896 he became minister of trade and commerce. In 1898-1899 he represented Canada on the Anglo-American joint high commission at Quebec. In 1904 failing health led to his retirement to the senate. He acted in Sir Wilfrid Laurier's absence at the Imperial Conference 1907 as acting premier.

CARTWRIGHT, THOMAS (c. 1535-1603), English Puritan divine, was born in Hertfordshire. He studied divinity at St John's College, Cambridge, but on Mary's accession had to leave the university, and found occupation as clerk to a counsellor-at-law. On the accession of Elizabeth, he resumed his theological studies, and was soon afterwards elected fellow of St John's and later of Trinity College. In 1564 he opposed John Preston in a theological disputation held on the occasion of Elizabeth's state visit, and in the following year helped to bring to a head the Puritan attitude on church ceremonial and organization. He was popular in Ireland as chaplain to the archbishop of Armagh (1565-1567), and in 1569 he was appointed Lady Margaret professor of divinity at Cambridge; but John Whitgift, on becoming vice-chancellor, deprived him of the post in December 1570, and--as master of Trinity--of his fellowship in September 1571. This was a natural consequence of the use which he made of his position; he inveighed bitterly against the hierarchy and constitution of the Anglican Church, which he compared unfavourably with the primitive Christian organization. So keen was the struggle between him and Whitgift that the chancellor, William Cecil, had to intervene. After his deprivation by Whitgift, Cartwright visited Beza at Geneva. He returned to England in 1572, and might have become professor of Hebrew at Cambridge but for his expressed sympathy with the notorious "Admonition to the Parliament" by John Field and Thomas Wilcox. To escape arrest he again went abroad, and officiated as clergyman to the English residents at Antwerp and then at Middelburg. In 1576 he visited and organized the Huguenot churches of the Channel Islands, and after revising the Rhenish version of the New Testament, again settled as pastor at Antwerp, declining the offer of a chair at St Andrews. In 1585 he returned without permission to London, was imprisoned for a short time, and became master of the earl of Leicester's hospital at Warwick. In 1590 he was summoned before the court of high commission and imprisoned, and in 1591 he was once more committed to the Fleet. But he was not treated harshly, and powerful influence soon secured his liberation. He visited Guernsey (1595-1598), and spent his closing years in honour and prosperity at Warwick, where he died on the 27th of December 1603. Cartwright was a man of much culture and originality, but exceedingly impulsive. His views were distinctly Presbyterian, and he stoutly opposed the Brownists or Independents. He never conceived of a separation between church and state, and would probably have refused to tolerate any Nonconformity with his reformed national Presbyterian church. To him, however, the Puritanism of his day owed its systematization and much of its force.

CARTWRIGHT, WILLIAM (1611-1643), English dramatist and divine, the son of a country gentleman who had been reduced to keeping an inn, was born at Northway, Gloucestershire, in 1611. Anthony a Wood, whose notice of Cartwright is in the nature of a panegyric, gives this account of his origin, which is probably correct, although it is contradicted by statements made in David Lloyd's _Memoirs_. He was educated at the free school of Cirencester, at Westminster school, and at Christ Church, Oxford, where he took his M.A. degree in 1635. He became, says Wood, "the most florid and seraphical preacher in the university," and appears to have been no less admired as a reader in metaphysics. In 1642 he was made succentor of Salisbury cathedral, and in 1643 he was chosen junior proctor of the university. He died on the 29th of November of the same year. Cartwright was a "son" of Ben Jonson and an especial favourite with his contemporaries. The collected edition of his poems (1651) contains commendatory verses by Henry Lawes, who set some of his songs to music, by Izaak Walton, Alexander Brome, Henry Vaughan and others, and the king wore mourning on the day of his funeral. His plays are, with the exception of _The Ordinary_, extremely fantastic in plot, and stilted and artificial in treatment. They are: _The Royal Slave_ (1636), produced by the students of Christ Church before the king and queen, with music by Henry Lawes; _The Lady Errant_ (acted, 1635-1636; printed, 1651); _The Siege, or Love's Convert_ (printed 1651). In _The Ordinary_ (1635 ?) he produced a comedy of real life, in imitation of Jonson, representing pot-house society. It is reprinted in Dodsley's _Old Plays_ (ed. Hazlitt, vol. xii.).

CARUCATE, or CARRUCATE (from the Med. Lat. _carrucata_, from _carruca_, a wheeled plough), a measure of land, based probably on the area that could be ploughed by a team of oxen in a year; hence "carucage" means a tax levied on each "carucate" of land (see HIDE).

CARUPANO, a town and port of the state of Bermudez, Venezuela, 65 m. N.E. of the city of Cumana. Pop. (1908, estimate) 8600. Carupano is situated on the Caribbean coast at the opening of two valleys, and is a port of call for several regular steamship lines. Its mean annual temperature is 81 deg. F., but the climate is healthy, because of its open situation on the coast. The country immediately behind the town is rough, but there is a considerable export of cacao, coffee, sugar, cotton, timber and rum.

CARUS, KARL GUSTAV (1789-1869), German physiologist and psychologist, distinguished also as an art critic and a landscape painter, was born and educated at Leipzig. After a course in chemistry, he began the systematic study of medicine and in 1811 became a _Privat docent_. On the subject which he selected (comparative anatomy) no lectures had previously been given at Leipzig, and Carus soon established a reputation as a medical teacher. In the war of 1813 he was director of the military hospital at Pfaffendorf, near Leipzig, and in 1814 professor to the new medical college at Dresden, where he spent the remainder of his life. He was made royal physician in 1827, and a privy councillor in 1862. He died on the 28th of July 1869. In philosophy Carus belonged to the school of Schelling, and his works are thoroughly impregnated with the spirit of that system. He regarded inherited tendency as a proof that the cell has a certain psychic life, and pointed out that individual differences are less marked in the lower than in the higher organisms. Of his many works the most important are:--_Grundzuge der vergleichenden Anatomic und Physiologie_ (Dresden, 1828); _System der Physiologie_ (2nd ed., 1847-1849); _Psyche: zur Entwickelungsgeschichte der Seele_ (1846, 3rd ed. Stuttgart, 1860); _Physis, zur Geschichte des leiblichen Lebens_ (Stuttgart, 1851); _Natur und Idee_ (Vienna, 1861); _Symbolik des menschlichen Gestalts_ (Leipz., 1853, 2nd ed., 1857); _Atlas der Kranioskopie_ (2nd ed. Leipz., 1864); _Vergleichende Psychologie_ (Vienna, 1866).

See his autobiography, _Lebenserinnerungen und Denkwurdigkeiten_ (4
vols., 1865-1866); K. von Reichenbach, _Odische Erwiederungen an die
Herren Professoren Fortlage ... und Hofrath Carus_ (1856). His
_England und Schottland im Jahre 1844_ was translated by S.C. Davison
(1846).

CARUS, MARCUS AURELIUS, Roman emperor A.D. 282-283, was born probably at Narbona (more correctly, Narona) in Illyria, but was educated at Rome. He was a senator, and had filled various civil and military posts before he was appointed prefect of the praetorian guards by the emperor Probus, after whose murder at Sirmium he was proclaimed emperor by the soldiers. Although Carus severely avenged the death of Probus, he was himself suspected of having been an accessory to the deed. He does not seem to have returned to Rome after his accession, but contented himself with an announcement of the fact to the senate. Bestowing the title of Caesar upon his sons Carinus and Numerianus, he left Carinus in charge of the western portion of the empire, and took Numerianus with him on the expedition against the Persians which had been contemplated by Probus. Having defeated the Quadi and Sarmatians on the Danube, Carus proceeded through Thrace and Asia Minor, conquered Mesopotamia, pressed on to Seleucia and Ctesiphon, and carried his arms beyond the Tigris. But his hopes of further conquest were cut short by his death. One day, after a violent storm, it was announced that he was dead. His death was variously attributed to disease, the effects of lightning, or a wound received in a campaign against the Huns; but it seems more probable that he was murdered by the soldiers, who were averse from further campaigns against Persia, at the instigation of Arrius Aper, prefect of the praetorian guard. Carus seems to have belied the hopes entertained of him on his accession, and to have developed into a morose and suspicious tyrant.

CARVACROL, or CYMOPHENOL, C10H13OH, or

CH3
/ \ OH
| |
\ /
C3H7 (iso),

a constituent of the ethereal oil of _Origanum hirtum_, oil of thyme, oil obtained from pepperwort, and wild bergamot. It may be synthetically prepared by the fusion of cymol sulphonic acid with caustic potash; by the action of nitrous acid on 1-methyl-2-amino-4-propyl benzene; by prolonged heating of 5 parts of camphor with 1 part of iodine; or by heating carvol with glacial phosphoric acid. It is extracted from Origanum oil by means of a 10% potash solution. It is a thick oil which sets at -20 deg.C. to a mass of crystals of melting point 0 deg.C, and boiling point 236-237 deg.C. Oxidation with ferric chloride converts it into dicarvacrol, whilst phosphorus pentachloride transforms it into chlorcymol.

CARVAJAL, ANTONIO FERNANDEZ (d. 1659), a Portuguese Marano (q.v.) or Crypto-Jew, who came to England in the reign of Charles I. He was the first "endenizened" Jew in England, and by his extensive trade with the West Indies rendered considerable services to the Commonwealth. Besides his commercial value to Cromwell, Carvajal was politically useful also, for he acted as "intelligencer." When Manasseh ben Israel in 1655 petitioned for the return of the Jews who had been expelled by Edward I., Carvajal took part in the agitation and boldly avowed his Judaism. Carvajal may be termed the founder of the Anglo-Jewish community. He died in 1659.

See Lucien Wolf, "The First English Jew," _Trans. Jewish Historical
Society_, ii. 14.

CARVAJAL, LUISA DE (1568-1614), Spanish missionary in England, was born at Jaraicejo in Estremadura on the 2nd of January 1568. Her father, Don Francisco de Carvajal, was the head of an old and wealthy family which produced many men of note. Her mother, Dona Maria, belonged to the powerful house of Mendoza. Both were people of pious character. The mother died in 1572 from a fever contracted while visiting the poor, and the father took the disease from his wife, and died of it. Luisa and a brother were left to the care of their grand-aunt Maria Chacon, governess of the young children of Philip II. On her death they passed to the care of their maternal uncle, Francisco Hurtado de Mendoza, count of Almazan. The count, who was named viceroy of Navarre by Philip II., was an able public servant in whom religious zeal was carried to the point of inhuman asceticism. His niece attracted his favour by her manifest disposition to the religious life; she sent her own share of dinner to the poor, ate broken meats, wore a chain next her skin, and invited humiliation; and at the age of seventeen she was instructed by the count to make a surrender of her will to two female servants whom he set over her, and by whom she was repeatedly scourged while naked, trampled upon and otherwise ill-treated. But when Luisa came of age she refused to enter a religious house, and decided to devote herself to the conversion of England. The execution of the Jesuit emissary priest, Henry Walpole, in 1596 had moved her deeply, and she prepared herself by learning English and by the study of divinity. A lawsuit with her brother caused temporary delay, but she secured her share of the family fortune, which she devoted to founding a college for English Jesuits at Louvain; it was transferred to Watten near Saint Omer in 1612, and lasted till the suppression of the Order. In 1605 she was allowed to go to England. She established herself under the protection of the Spanish ambassador, whose house was in the Barbican. From this place of safety she carried on an active and successful propaganda. She made herself conspicuous by her attentions to the Gunpowder Plot prisoners, and won converts, partly by persuasion, partly by helping women of the very poorest class in childbirth, and taking charge of the children. Her activity attracted the attention of the authorities, and she was arrested in 1608. But the protection of the Spanish ambassador Zuniga, and the desire of King James I. to stand well with Spain, secured her release. In 1613, while staying at a house in Spitalfields, where she had in fact set up a disguised nunnery, she was arrested with all the inmates by the pursuivants of Abbot, archbishop of Canterbury, who had been on the watch for some time. Her release was again secured by the new Spanish ambassador Gondomar, who played with effect on the weakness of King James. By this time, however, the Spanish authorities had begun to discover that she was a political danger to them, and recalled her. Luisa, who had hoped for the crown of martyrdom, was bitterly disappointed, and resisted the order. Before she could be forced to obey she died in the Spanish ambassador's house on her birthday, the 2nd of January 1614. Her body remained as an object of admiration for months till it was carried back to Spain.

The original authority for the life of Luisa de Carvajal is _La Vida y
Virtudes de la Venerable Virgen Dona Luisa de Carvajal y Mendoza_
(Madrid, 1632), by the Licentiate Lorenzo Munoz. It is founded on her
own papers collected by her English confessor Michael Walpole. It is
largely autobiographical, and contains some examples of her verse. The
_Vida y Virtudes_ is summarized by Southey in his _Letters from Spain
and Portugal_ (1808). A life was written by Lady Georgiana Fullerton
(1873), in which much that is shocking to modern sentiment is
concealed. See also _Quatre Portraits de femmes_, by La Comtesse R. de
Courson (Paris, 1895). There are several references to Luisa de
Carvajal in the _Records of the English Province of the Society of
Jesus_, by Henry Foley (1877-1883). (D. H.)

CARVER, JOHN (1575?-1621), one of the "Pilgrim Fathers," first governor of the Plymouth colony in America, was born, probably in Nottinghamshire, England, about 1575. Owing to religious persecution at home he took refuge in Holland about 1607, and eventually became a deacon in the church at Leiden of which John Robinson was the pastor. In 1620 he emigrated to America in the "Mayflower," and founded the Plymouth colony. Before leaving England he had probably been elected governor; after the signing of the famous "Compact" this election was confirmed; and on the 23rd of March 1620 (1621 N.S.) Carver was re-elected for the ensuing year. Early in April, however, he died from the effects of sunstroke.

CARVER, JONATHAN (c. 1725-1780), American traveller, was born probably in Canterbury, Connecticut. The date usually given for his birth, 1732, is now considered too late, since he was apparently married in 1746. In early life he followed the trade of a shoemaker and subsequently served with the provincial forces in the French and Indian wars. According to his "Journal" he conceived the idea, after the peace of 1763, of exploring Great Britain's newly acquired territory in the north-west. He is said to have set out in 1766, journeyed westward by way of the Straits of Mackinac and the Fox and Wisconsin rivers to the Mississippi, viewed the Falls of St Anthony, lived for some time among the Indians, and received from them a grant of 100 sq. m. of territory between the Mississippi and St Croix rivers. Returning east in 1768 by way of the north shore of Lake Superior he proceeded in 1769 to England, where he presented a letter of introduction to Benjamin Franklin, and made vain efforts to interest the board of trade in his investigations. In 1778 there was published in London what purported to be his own narrative of his explorations under the title of _Travels through the Interior Parts of North America in the Years 1766, 1767 and 1768._ It had an immediate success, was translated into French, German and Dutch, and was long generally accepted as a truthful narrative of his travels and observations, and as one of the highest authorities on the manners, customs and language of the Indians of the northern Mississippi valley. Carver died in London on the 31st of January 1780, having married a second time in England although his first wife was still living in America.

Soon after his death a new edition of the _Travels_ was brought out by the well-known Quaker physician and author, Dr John Coakley Lettsom (1744-1815), who "edited" the work and furnished a biographical introduction. Some doubt seems to have been early entertained as to the real authorship of the work, Oliver Wolcott in 1792 writing to Jedediah Morse, the geographer, that Carver was too unlettered to have written it, and that in his belief the book was the work of some literary hack. Careful investigation of Indian life and north-western history, notably by H.R. Schoolcraft in 1823, William H. Keating in his narrative of Major Long's Expedition (1824), and Robert Greenhow in his _History of Oregon_ (1844), showed a remarkable similarity between the _Travels_ and the accounts of several French authorities, but these criticisms were scarcely noticed by later writers. Finally Professor E.G. Bourne, in a paper contributed to the _American Historical Review_ for January 1906, proved beyond dispute that the bulk of Carver's alleged narrative was merely a close paraphrase of Charlevoix's _Journal_, La Hontan's _New Voyages to North America_, and James Adair's _History of the American Indians._ Professor Bourne's theory is that the entire book was probably the work of the facile Dr Lettsom, whose personal relations with Carver are known to have been intimate, the "journal" alone, which constituted an inconsiderable part of the whole, having been, in part, founded on Carver's random notes and recollections.

See also J.G. Godfrey, _Jonathan Carver; His Travels in the
North-west, 1766-1768_ (No. 5 of the Parkman Club Publications,
Milwaukee, Wis., 1896), and Daniel S. Durrie, "Captain Jonathan Carver
and the Carver Grant," in vol. vi. of the Wisconsin Historical
Society's _Collections_ (1872).

CARVING. To carve (A.S. _ceorfan_: connected with Gr. [Greek: graphein]) is to cut, whatever the material; but apart from the domestic sense of carving meat, the word is more particularly associated with the art of sculpture. The name of sculptor (see SCULPTURE) is commonly reserved for the great masters of the art, especially in stone and marble, while that of carver is given to the artists or workmen who execute the subordinate decorations of architecture. The word is also specially applied to sculpture in ivory (q.v.) and its substitutes, and in wood (see WOOD-CARVING) and other soft materials (see also GEM.)

CARVING AND GILDING, two allied operations which formerly were the most prominent features in the important industry of frame-making. The craftsmen who pursued the occupation were known as "carvers and gilders," and the terms still continue to be the recognized trade-name of frame-making, although very little of the ornamentation of frame-work is now accomplished by carving, and much of the so-called gilt ornament is produced without the use of gold. The trade has to do primarily with the frames of pictures, engravings and mirrors, but many of the light decorative fittings of houses, finished in "composition" and gilt work, are also entrusted to the carver and gilder. Fashion in picture frames, like all fashions, fluctuates greatly. Mouldings of the prevailing sizes and patterns are generally manufactured in special factories, and supplied in lengths to carvers and gilders ready for use. A large proportion of such mouldings, especially those of a cheaper and inferior quality, are made in Germany. What is distinctively known as a "German" moulding is a cheap imitation of gilt work made by lacquering over the surface of a white metallic foil. German artisans are also very successful in the preparation of imitation of veneers of rosewood, mahogany, walnut and other ornamental woods. The more expensive mouldings are either in wood (such as oak or mahogany), in veneers of any expensive ornamental wood, or real gilt.

A brief outline of the method of making a gilt frame, enriched with composition ornaments, may be taken as a characteristic example of the operations of the frame-maker. The foundation of such a frame is soft pine wood, in which a moulding of the required size and section is roughly run. To prevent warping the moulding is, or ought to be, made from two or more pieces of wood glued together. The moulding is "whitened up," or prepared for gilding by covering it with repeated coatings of a mixture of finely powdered whiting and size. When a sufficient thickness of the whitening mixture has been applied, the whole surface is carefully smoothed off with pumice-stone and glass-paper, care being taken to keep the angles and curves clear and sharp. Were a plain gilt moulding only desired, it would now be ready for gilding; but when the frame is to be enriched it first receives the composition ornaments. Composition, or "compo," is a mixture of fine glue, white resin, and linseed oil well boiled together, with as much rolled and sifted whiting added as makes the whole into a doughy mass while hot. This composition is worked in a hot state into moulds of boxwood, and so pressed in as to take up every ornamental detail. On its removal from the mould all superfluous matter is trimmed away, and the ornament, while yet soft and plastic, is laid on the moulding, and fitting into all the curves, &c., is fixed with glue. The ornamental surface so prepared quickly sets and becomes very hard and brittle. When very large bold ornaments are wanted for frames of unusual size they are moulded in _papier mache._ Two methods of laying on gold--oil-gilding and water-gilding--are practised, the former being used for frames broken up with enrichments. For oil-gilding the moulding is prepared with two coats of fine thin size to fill the pores of the wood, and afterwards it receives a coat of oil gold-size, which consists of a mixture of boiled linseed oil and ochre. When this gold-size is in a "tacky" or "sticky" condition, gold-leaf is laid on and carefully pressed over and into all parts of the surface; and when covered with a coat of finish-size the gilding is complete. Water-gilding is applied to plain mouldings and all considerable unbroken surfaces, and is finished either "matt" or burnished. For these styles of work the mouldings are properly sized, and after the size (which for "matt" is red in colour and for burnish blue) is dry the gold is laid on with water. Matt-work is protected with one or two coats of finish-size; but burnished gold is finished only by polishing with an agate burnisher--no size or water being allowed to touch such surfaces. The mitring up of frames, the mounting and fitting up of paintings, engravings, &c., involve too many minor operations to be noticed here in detail; but these, with the cutting and fitting of glass, cleaning and repairing pictures and prints, and similar operations, all occupy the attention of the carver and gilder.

CARY, ALICE (1820-1871), and PHOEBE (1824-1871), American poets, were born at Mount Healthy, near Cincinnati, Ohio, respectively on the 26th of April 1820 and the 4th of September 1824. Their education was largely self-acquired, and their work in literature was always done in unbroken companionship. Their poems were first collected in a volume entitled _Poems of Alice and Phoebe Carey_ [sic] (1850). In 1850-1851 they removed to New York, where the two sisters, befriended by Rufus W. Griswold (1815-1857), the _quasi-_dictator of American verse, and Horace Greeley, occupied a prominent position in literary circles. In 1868-1869 Alice Cary served for a short time as the first president of Sorosis, the first woman's club organized in New York. Alice, who was much the more voluminous writer of the two, wrote prose sketches and novels, now almost forgotten, and various volumes of verse, notably _The Lover's Diary_ (1868). Her lyrical poem, _Pictures of Memory_, was much admired by Edgar Allan Poe. Phoebe published two volumes of poems (1854 and 1868), but is best known as the author of the hymn "Nearer Home," beginning "One sweetly solemn thought," written in 1852. Alice died in New York City on the 12th of February 1871, and Phoebe in Newport, Rhode Island, on the 31st of July of the same year. The collected _Poetical Works of Alice and Phoebe Cary_ were published in Boston in 1886.

See Mrs Mary Clemmer Ames's _Memorial of Alice and Phoebe Carey_ (New
York, 1873).

CARY, ANNIE LOUISE (1842- ), American singer, was born in Wayne, Maine, on the 22nd of October 1842. She studied in Milan, and made her debut as an operatic contralto in Copenhagen in 1868. She had a successful European career for several years, singing in Stockholm, Paris and London, and made her New York first appearance in 1870. She only once returned to Europe for a brilliant Russian tour, and until she retired in 1882, on her marriage to Charles M. Raymond, she was the most popular singer in America.

CARY, HENRY FRANCIS (1772-1844), English author and translator, was born at Gibraltar on the 6th of December 1772, the son of a captain in the army. He was educated at the grammar schools of Rugby, Sutton Coldfield and Birmingham, and at Christ Church, Oxford, which he entered in 1790. He took holy orders, and was presented in 1797 to the vicarage of Abbott's Bromley in Staffordshire. This benefice he held till his death. In 1800 he was also presented to the vicarage of Kingsbury in Warwickshire. While still at school he had become a regular contributor to the _Gentleman's Magazine_, and had published a volume of _Sonnets and Odes._ At Christ Church he devoted much time to the study of French and Italian literature; and the fruits of these studies appeared in the notes to his classic translation of Dante. The version of the _Inferno_ was published in 1805, together with the original text. Soon afterwards Cary moved to London, where he became reader at Berkeley chapel, and subsequently lecturer at Chiswick and curate of the Savoy. His version of the whole _Divina Commedia_ did not appear till 1814. It was published at Cary's own expense, as the publisher refused to undertake the risk, owing to the failure incurred over the _Inferno_. The translation was brought to the notice of Samuel Rogers by Thomas Moore. Rogers made some additions to an article on it by Ugo Foscolo in the _Edinburgh Review._ This article, and praise bestowed on the work by Coleridge in a lecture at the Royal Institution, led to a general acknowledgment of its merit. Gary's _Dante_ thus gradually took its place among standard works, passing through four editions in the translator's lifetime. It has the great merits of accuracy, idiomatic vigour and readableness; it preserves the sincerity and vividness of the original; and, although many rivals have since appeared in the field, it still holds an honourable place. Its blank verse, however, cannot represent the close woven texture and the stately music of the _terza rima_ of the original. In 1824 Cary published a translation of _The Birds_ of Aristophanes, and, about 1834, of the _Odes_ of Pindar. In 1826 he was appointed assistant-librarian in the British Museum, a post which he held for about eleven years. He resigned because the appointment of keeper of the printed books, which should have been his in the ordinary course of promotion, was refused him when it fell vacant. In 1841 a crown pension of L200 a year, obtained through the efforts of Samuel Rogers, was conferred on him. Cary's _Lives of the early French Poets_, and _Lives of English Poets_ (from Johnson to Henry Kirke White), intended as a continuation of Johnson's _Lives of the Poets_, were published in a collected form in 1846. He died in London on the 14th of August 1844, and was buried in Westminster Abbey.

A memoir was published by his son, Henry Cary, in 1847.

CARYATIDES (Latinized from the Greek; the plural of Caryatis, i.e. a woman of Caryae in Laconia), in architecture, the term given to the draped female figures used for piers or supports, as found in the porticos of the Erechtheum and of the Treasury of Cnidus at Delphi (see GREEK ART, fig. 17).

CARYL, JOSEPH (1602-1673), English Nonconformist divine, was born in London in 1602. He graduated at Exeter College, Oxford, and became preacher at Lincoln's Inn. He frequently preached before the Long Parliament, and was a member of the Westminster Assembly in 1643. By order of the parliament he attended Charles I. in Holmby House, and in 1650 he was sent with John Owen to accompany Cromwell to Scotland. In 1662 he was ejected from his church of St Magnus near London Bridge, but continued to minister to an Independent congregation in London till his death in March 1673, when John Owen succeeded him. His piety and learning are displayed in his ponderous commentary on Job (12 vols., 4to., 1651-1666; 2nd ed., 2 vols., fol. 1676-1677).

CARYOPHYLLACEAE, a botanical order of dicotyledonous plants, containing about 60 genera with 1300 species, and widely distributed, especially in temperate, alpine and arctic regions. The plants are herbs, sometimes becoming shrubby at the base, with opposite, simple, generally uncut leaves and swollen nodes. The main axis ends in a flower (definite inflorescence), and flower-bearing branches are borne one on each side by which the branching is often continued (known technically as a dichasial cyme). The flowers are regular, with four or five sepals which are free or joined to form a tube in their lower portion, the same number of petals, free and springing from below the ovary, twice as many stamens, inserted with the petals, and a pistil of two to five carpels joined to form an ovary containing a large number of ovules on a central placenta and bearing two to five styles; the ovary is one-celled or incompletely partitioned at the base into three to five cells; honey is secreted at the base of the stamens. The fruit is a capsule containing a large number of small seeds and opening by apical teeth; the seed contains a floury endosperm and a curved embryo.

The order is divided into two well-defined tribes which are distinguished by the character of the flower and the arrangements for ensuring pollination.

Tribe I. _Alsineae_: the sepals are free and the flowers are open, with spreading petals, and the honey which is secreted at the base of the stamens is exposed to the visits of short-tongued insects, such as flies and small bees; the petals are white in colour. It includes several British genera, _Cerastium_ (mouse-ear chickweed), _Stellaria_ (fig. 1) (stitchwort and chickweed), _Arenaria_ (sandwort), _Sagina_ (pearlwort), _Spergula_ (spurrey) and _Spergularia_ (sandwort spurrey).

b, The same cut horizontally, and the halves separated so as to show the interior of the cavity of the ovary o, with the free central placenta p, covered with ovules g.]