$H Car, Chariot, or Carriage. (See CARRUS and CURRUS.) (1883m1)

Car. A war-chariot (see CURRUS); or triumphal chariot (see QUADRIGA DECEMJUGAS= .) They were on the latter occasions highly decorated, and modelled in bronze and marble as enrichments for the temple or triumphal arch, where they remained as trophies of the victories of the donors. The divinities of th= e Romish Pantheon are frequently represented in ancie= nt sculpture and paintings seated in cars drawn by such animals or birds as = were sacred to each. Thus, Juno is drawn in a car by peacocks, Venus by doves, Minerva by owls, Cybele by serpents, Apollo by griffins, &c. The word CAR has in modern times been almost entirely restricted to those of an ornamental and triumphal kind, as exhibited in public pageantry, in the theatre, &c. *

* In Ireland, however, the word = is common to a travelling carriage. In England it is restricted to= a heavy waggon for goods and merchandize alone. (1855f1)

$H Carabaga. Mediaeval

Carabaga. Med. Lat. = Also CALABRA. A kind of catapult or balista.(1883m= 1)

$H Caraben. [See Carbine]

$H Carabine. (See CARBINE.)<= /span> (1883m1)

$H Carabus.

Carabus (6VD"$@H[=3Dkarabos]). A sm= all boat made of wicker‑work; a kind of shallop covered with raw hides. It was either propelled by itself or attached to = the stern of a larger vessel. Similar to the coracle.(1883m1)

$H Caracalla.

Caracalla. (a Celtic= word). A military garment introduced from Gaul into Rome by the Emperor Antonine, who obtained thus his surname of Caracalla.(1883m1)

$H Caracole. = Architecture

Caracole. Arch. A sp= iral staircase.(1883m1)

$H Carat.

Carat. A special = weight which is the traditional standard in goldsmiths' work and jewellery, and = is also employed as the measure of pearls and diamonds. The weight of a cara= t is twenty‑four grains. The term carat is also applied to small diamonds.(1891a1)

$H = Caravanserai. Architecture

Carav= anserai. (Arch.) = A building intended in the East for the use of travellers. It is in the form of a quadrangle, enclosing an immense courtyard.(1891a1)

$H Carbassus or Carbassum.

Carbassus or Carbassum (6VDB"F@H[=3Dkarpasos], fine= Spanish flax). This term was used indifferently to denote all textures made of the fine Spanish flax. Thus any kind of linen garment, the sails of a ship, t= he awning of a theatre or amphitheatre, all came under the term of carbassus.(1883m1)

$H = Carbatinae.

Carba= tinae (6"D$VJ4<"4[=3Dk= arbatinai]). A rough kind of boot in common use= , made of a single piece of leather, and worn by peasants.(1883m1)

$H Carbine.

Carbine, or Carabine, or Caraben. A short gun with a wheel lock and a wide bore, introduced in the 16th century.(1883m1)

Carbine. A fire‑arm which was introduced into this country in the 16th century. Whence it came is uncertain, but in all probability we owe it to the Spaniards. It had a wheel lock and a wide bore.(1891a1)

Carbine. A short gun with a wheel lock, introduc= ed in the armies of the latter half of the sixteenth century. Its original n= ame is carabine, which Meyrick th= inks may have been derived from the circumstance of its being first used by marines in war galleys termed car= abs. Infantry are hence termed carabin= eers. (1855f1)

$H Carbonate of Lead.

Carbonate of Lead, o= r white lead, is the principal whi= te pigment. It is prepared by exposing sheets of lead to the action of acetic and carbonic acids. It is called also Ceruse, Flake white, Krems (or Vienna) white, Nottingham white. It is also known, under different modifications of colour, as Venice= , or as Hamburg, or as Dutch white. It is a pi= gment very liable to injury from exposure to certain gases. (See OXIDE OF ZINC.)(1883m1)

$H Carbonates of Copper.

Carbonates of Copper= yield blue and green pigments, known from the earliest times, and under many na= mes, as Mountain blue and green, b= lue and green Ash, or Saunders' (for cendres') blue and green. These names are also applied to the manufactured imitations of the native carbonates of copper. Powdered Malachite is a form of the native green carbonate. The colours called Emerald Green and Paul Veronese Green are artificial.(1883m1)

$H Carbon Process.

The fixing of photographic proofs by the carbon process, although it does not render them absolutely unalterable, makes them far m= ore durable than those obtained with silvered paper, as the powdered carbon is fixed by means of an adhesive substance. Its unsatisfactory feature is th= at it gives to the proof a heavy look and destroys the transparency of the shadow.(1891a1)

$H Carbuncle.

A precious stone, a variety of red garnet of extraordina= ry brilliance.(1891a1)

(Lat. carbunculus). A gem of a = deep red colour. A jewel shining in the dark. (Milton.)(1883m1)

Carbuncle. A gem of a deep red colour, found in = the East Indies in company with ferruginous stone. It= was much valued by the ancient Greeks, who termed it anthrax. (1855f1)=

$H Carcaissum. Mediaeval

Carcaissum. Med. Lat= . (Fr. carquois; It. carcasso; Mod. Gr. = ("D6VF4@<[=3Dgarkasion]. A quiver.(1883m1)

$H Carcamousse.<= span style=3D'mso-spacerun:yes'> Mediaeval

Carcamousse. Med. A battering‑ram. The name is onomatopoetic.(1883m1)=

$H Carcanet. Costume

Carcanet. O.E. A nec= klace set with stones, or strung with pearls.(1883m1)

Carcanet. (Cost.) A necklace of pearls or other precious stones.(1891a1)

Carcanet. (Ital.) A jewelled necklace, such as the Venetians were celebrated for manufactur= ing in the fifteenth century. (1855f1)

$H Carcass.= Architecture

Arch. The unfinished= frame or skeleton of a building.(1883m1)

(Arch). The skeleton, either of wood or iron, of buildin= gs in general.(1891a1)

$H Carcer and Carceres.

Carcer (akin to arceo, i.e. an enclosure [Gr. = «D= 6@= H[=3Dherkos]]). (1) A prison. (2) The circus. At Rome the prisons were divided into three stages: the first, which formed a story above ground (carcer superior), was for prisoners who had only committed sl= ight offences; the carcer interior= , or stage on a level with the ground, served as a place of confinement in whi= ch criminals were placed to await the execution of their sentence; lastly th= ere was the carcer inferior, or subterranean dungeon called robur= , for criminals condemned to death. Fig. 137 represents the carcer built at Rome by Ancus Martius and Servius Tul= lius; Fig. 138. the carceres of the circus.

Fig. 137. Carceres. Roman prisons. Fig. 138. = Carceres. Stables in the circus at Rome.(1883m1)

&nbs= p;

$H Carchesion= or Carchesium.

Carchesium (6"DPZF4@<[=3Dkarchesion]). <= o:p>

(1) A drinking‑= ;cup of Greek invention, and having slender handles ri= sing high over the edge, and reaching to the foot. It was an attribute of Bacc= hus, and was used in the religious ceremonies.

= (2) A scaffolding in the shape of= the carchesium at the masthead of a ship. (Anglicè, "crow's‑nest.")(1883m1)

Carchesium. A Greek drinking vessel furnished wi= th two handles which extend from the rim to the bottom. In form it somewhat resembles the modern loving‑cup. The term was also applied to a por= tion of a Greek ship, which corresponded to our top. From the carchesium the sails were managed and in it sailors stood to keep a look‑out. It got its name from its supposed likeness to the drinking‑cup. ILLUS. carc= hesi(1891a1)

<= /o:p>

Carchesium, Carchesion. (Gr.) The name of an antique drinking vessel, and also of the goblet peculiar to Bacchus, found on numerous antiques, sometimes in his own hand, as in the ancient representations in which the god is clothed and bearded; and sometimes at= the Bacchic feasts. The carc= hesium has a shallow foot; it is generally wider than it is deep, smaller towards the centre, and with handles rising high over the edge, and reaching to t= he foot, its use in religious ceremonies proves it to have been one of the oldest forms of goblets. * <= o:p>

* Fig. 1 represents one, adorned with Bacchic figures, given by C= harles the Simple to the Abbey or St. Denis, near Paris.

That part of the mast, in ancient ships, immediately above the yar= ds, answering to the main-top of modern ships, as it bore some resemblance to= a drinking-cup, was also called CARCHESIUM. The sailors used to ascend into= it to 'look out,' to manage the sails, and to discharge missiles. ** FIGU= RES 1 AND 2

** Fig. 2 represents one of the most ancient kind= , from a painting at Thebes. (1855f1)

&nbs= p; &= nbsp; &nbs= p; <= /o:p>

$H Card. [For playing cards, see Cards]=

Card. A thick substance made of two or more laye= rs of paper, pasted together, and made solid by passing under a powerful pre= ss. (1855f1)

$H Cardboard or Card-Board.

Cardboard. A light card consisting of sheets of paper pasted together throughout their surface.(1891a1)

Card-Board. Layers of paper pasted together considerably thicker than ordinary card, and consisting of many sheets un= til a board-like substance is obtained. (1855f1)

$H Cardinalis. (See SCAPUS.) (1883m1)

$H Cardo.

Cardo. A pivot and s= ocket used for the hinge of a door. The term was also used in carpentry to deno= te a dove‑tailed tenon; this was called cardo securi‑c= ulatus, i.e. a tenon in the shape of an axe, the dove= ‑tail bearing some resemblance to the blade of that tool.(1883m1)

$H Cards.

Playing cards are of great importance in the history of = art. They are first heard of in Europe in t= he 14th century, and no doubt the first packs were simply painted by hand. At least so we may infer from the very high price paid for the pack made by = Jacquemin Gringonneur f= or Charles VI. of France. The oldest ones sti= ll in existence are stencilled. Cards, however, are chiefly interesting to us because they influenced or even led to wood‑engraving. At any rate = the earliest wood‑cuts that have come down to us are playing cards. The packs in use at present are copies of those made in the 16th century, and= are generally produced by means of lithography.(1891a1)

Cards (CARTES-A-JOUER, Fr., SPIELKA= RTEN, Ger.) The early manufacture of playing-cards forms an important era in the history of the arts of engrav= ing and printing. They were probably introduced from the East about the middl= e of the fourteenth century; 1 ha= ving been known in Chin= a two centuries before. The first positive notice of their European use is = the entry in the French treasurer's account, 1393, of a pack made by Jacquemin Gringonneur f= or the amusement of Charles VI., who had lost his reason by a coup-de-soleil. These cards, from= the price paid for them, were most probably painted by hand. The, ordinary on= es were either stencilled or engraved on wood. In the earliest examples now preserved, which appear to be of as early a date as the year 1440, it is evident that the figures were executed by means of a stencil. 2 That the earliest wood-engrav= ings were used in the manufacture is also clear; and some writers have gone so= far as to assert, that the use of cards led to the art, 3 the earlier specimens of which certainly are about on a par with the rude outline of the figures in a pack of cards. The modern cards, both in costume and style, preserve the reminiscences of the sixteenth century. They are now manufactured in oil-colours by the aid of lithograp= hic printing; or the outline is printed from a copper plate, and the other colours of the court cards from a series of blocks or stones, each delive= ring one tint; or the colour deposited by means of stencil-plates.<= /span>

1 The earliest representation of a royal party playing at cards occurs in an illuminated drawing in the Roman du Roy Meliadus. Br= it. Mus. Add., MS. 12,288, it has been engraved in Sing= er's Researches into the History of Playing-cards, p. 68.(1855f1)

2 Facts and Speculations on the History of Playing-cards, by W.= A. Chatto, p. 83.

3 See A Treatise on Wood-engravings, Histo= rical and Practical, by W. A. Chatto, p. 58.(1855f1)

$H Cardunias. Chaldaea

Cardunias= . The original nam= e of Lower Chaldea. See Ganduni= as. (1876c1)

$H Care‑cloth. Old English

Care‑cloth. O.= E. A cloth held over the bride and bridegroom's heads at a wedding.(1883m1)

$H Carellus.

Carellus (Fr. carreau= ). A quarrel or arrow for cross‑bows, the head of which was either four&= #8209;sided or had four projections.(1883m1)

$H Caricature.

An extravagant representation, in which reality is so far exaggerated as to become ridiculous and grotesque. It has been practised = in all times as a method of satire. Egyptian and Greek caricatures have come down to us, while at Pompeii= many burlesque travesties of ancient myths were discovered. In modern tim= es caricature has been freely used as a political weapon, and Englishmen have reason to be proud of their long line of caricaturists from Rowlandson to Furniss.(= 1891a1)

Caricature (Fr.), Caricatura. (Ital.) A satiric= al image, or extravagant representation, in which the features of the physiognomy, the expression of the passions, the natural defects and habi= ts of the body of the person represented are exaggerated, whence results a grotesque and overcharged figure. It is a very ancient art, and was indul= ged in by the Egyptians. There is extant a painting by these antique artists, representing cats attacking a rat's castle, as a burlesque on military tactics. Several have been found on the walls of <= st1:City w:st=3D"on">Herculaneum, which give an absurd tur= n to ancient myths, or depict animals and grotesque figures engaged in the business of men. The illuminators of manuscripts in the middle ages frequently indulged in this practice, even in books of devotion; and Leon= ardo da Vinci amused himself with depicting heads of the most bizarre character. CARICATURE is to painting what the epigram= is to poetry; every appearance of effort or care is carefully excluded, alth= ough the objects must not be represented falsely. A general knowledge of forms, and of the mechanism of the figure, a quickness of hand, keen observation, and a knowledge of character (more or less profound), and of the influenc= e of the passions upon mankind, are indispensable to the caricaturist. Usually caricatures appear as if executed with a pen or pencil; indeed, all works= of the kind are best when hit off rapidly, and copied by the engraver in the same dashing style. POLITICAL CARICATURE can only exist in free states, a= nd although in France and Italy occasionally deeply satirical productions appear, yet it is only in England that political caricature is looked upo= n as harmless, either as provoking mirth or checking arrogance and vanity. The names of Gilray, Cruikshank, and H.B. (Doyle), are sufficient to establis= h an English school of caricature. Caricatures employ inscriptions to illustra= te their satirical meaning; these are placed as issuing from the mouths of t= he figures; or, as inscriptions, sometimes convey a pun. (1855f1)

$H Caricaturist.

Caricaturist. An artist who draws or models caricatures.(1891a1)

$H Carillon.

Carillon. Fr. A set = of large bells, arranged to perform tunes by machinery, or by a set of keys touche= d by a musician. Antwerp, Bruges, and Ghent are celebrated for the carillons in their steeples.(1883m1)=

$H Caristia.

Caristia (from PVD4H[=3Dcharis], favour or gratitude). A Roman feast, at which the m= embers of a family came together. It lasted three days: on the first, sacrifices were offered to the gods; the second was consecrated to the worship of deceased relations; and on the third the surviving members of the family = met at a banquet. Strangers were not allowed in these gatherings.(1883m1)

$H Carminated Lakes.

Ca= rminated Lakes. Also called Lake of Flore= nce, Paris, or Vienna. Pigments made from the liquo= r in which cochineal and the other ingredients have been boiled to make carmine. (See MADDER.)(1883m1)

$H Carmine.= Painting

Carmine. (Paint.) = A bright rose red colour. In water‑colour painting carmine, when ultramarine, Prussian blue, or indigo is added to it, produces rich violet tints. A few drops of carmine added to a solution of Indian ink gi= ves it a warm tone. Oil and varnish protect it, and as a rule it is permanent, being only adversely affected by a strong light. Sometimes it is obtained from the cochineal insect, sometimes from madder.(1891a1)

Carmine. A beautiful pigment prepared from the insect, cochineal. Carmine is the richest and purest portion of the colouring matter of cochineal. The various kinds of carmine are distinguished by numbers, and possess a value corresponding thereto; the difference depending either on the proportion of the alumina added, or on the presenc= e of vermilion added for the purpose = of diluting and increasing the quantity of the colour: the alumina produces a paler tint, and the vermilion a tint different to = that of genuine carmine. The amount of adulteration can always be detected by = the use of liquor ammoniae, which dissolves the w= hole of the carmine, but leaves the adulterating matter untouched. Carmine is chiefly used in miniature painting and in water‑colours. It is made in large quantities in Paris.(1883m1)

Carmine. A beautiful red pigment, prepared from the cochineal insect; in colour it forms the nearest approach to the red of the prismatic spectrum. It is ve= ry useful in water-colour painting, but cannot be depended upon in oil. Ther= e is a CARMINE prepared from madder, but, like all vegetable colours, it cannot be regarded as permanent. Burnt carmine is a pigment of a rich purple colour, very usef= ul in miniature painting. **

** See Art-Journal, March, 1850. (1855f= 1)

$H Carmine‑madder. (See MADDER.) (1883m1)

$H Carnarium.

Carnarium. R. (caro, f= lesh). (1) A larder for fresh or salted provisions. (2) The iron hooks on which = they were hung.(1883m1)

$H Carnation. (Paint.)= Flesh tints (q.v.). (1891a1) [See Flesh-tints]

$H Carnificia or Carnificina.

Carnificia or Carnificina. R. (carnifex, executioner). Subterranean dungeons, in which criminals were put to the torture, and, in many cases, executed.(1883m1)

$H Carnix or Carnyx.

Carnix or Carnyx (Ce= ltic and Gaulish word). A trumpet in the form of a lon= g horn, of which the month was curved so as to resemble the mouth of an animal. T= his instrument gave out a peculiarly loud strident sound, and was used more particularly by the Celtic nations, notably the Gaul= s. It is constantly found represented on the coins of these nations, and on = bas‑reliefs. Some archaeologists have mistaken the carnices on medals for cornucopiae.(1883m1)=

$H Carol. Architecture

Carol. Chr. An enclosed place; a circular gallery. In old French, caro= le signified a round dance, or a circle of stone. In the last century the te= rm was applied to the ambulatory, or circular gallery, behind the choir in churches.(1883m1)

Carol. (Arch.) A small room or closet, in which one migh= t sit and read. In monasteries carols were set apart for the monks to study or illuminate missals in. The recesses formed by a bay window are also termed carols.(1891a1)

$H Carpentum.

R. A two‑wheel= ed carriage of Gaulish invention; it was often c= overed with an awning, resembling in form that of the CAMARA (q.v.). The carpentum funebre= or pompaticum was a hearse. It was made to resemble a shrine or small temple. Lastly, the t= erm carpentum was used to denote a cart, with two wheels, employed for agricultural purposes.(1883m1)

A carriage with two wheels and an awning over it. It held two or three persons, and could be shut in with the awning when desired. = As a rule it was drawn by two mules, and it was chiefly used by Roman ladies. = ILLUS. carp= entu(1891a1)

<= /o:p>

Carpentum. (Lat.) A covered two-wheeled carriage drawn by two horses or mules, and capable = of containing two or three persons. Its chief use was to convey the Roman la= dies in festal processions, as a particular distinction, and in process of tim= e by private persons on journeys. Our engraving is copied from a medal of Agrippina, and exhibits a carpentum of the most enriched form, which she = was allowed by the senate to use as a particular privilege, and which honour = she thus commemorated. The roof is supported by statues, and the sides enrich= ed by sculptured panels. CARPENTA, or covered carts, were extensively used by the Britons and other northern nations, whose climate rendered that a necessity with them which was but a luxury in Italy. Such carriages were, however, homely in style, and unlike their royal prototypes, being merely country carts, covered with leather or sail-cloth. FIGURE (1855f1)

<= /o:p>

$H Carpet.<= span style=3D'mso-spacerun:yes'>

Carpet. A woven fa= bric used for covering the floors of chambers. In the East carpets were employ= ed by Oriental nations for sitting or reclining upon, or for kneeling on whi= le in prayer. They existed in very early times in the East, in Egypt and Persia for instance, and were imported into Spain by the Moors. From Spain they reached Venice, and then spread all over Europe. The manufacture of carpets was introduced into France from Persia in the r= eign of Henri Quatre, while the celebrated factory= at Beauvais, still in existence, was established by Colbert, the minister of Louis XIV= ., in 1664. A carpet factory was established at Mortlak= e by James I., but it was unsuccessful. However the manufacture flourished later at Wilton, Kidderminster, and else= where in England. There are two methods of carpet‑making. In the first, the materials= of the pattern are knitted into the warp. This is followed in Persian, Turkey, and Indian carpets. In the second the pattern is woven up in the loom. The latter is followed in Kidderminster, Brussels, and Wilton carpets. The carpet in a room which contains much furniture should be dar= k in tone, as it then forms the most efficient background for the furniture.(1891a1)

Carpet. A covering for the floor, of thick woollen stuff; or for tables, &c.,= of a more delicate texture. Its manufacture originated in the luxurious in-d= oor life of the East, and Turkey carpets were among the costly rarities imported from thence by the mediae= val merchants. Its European manufacture commenced in the Low Countries; and <= st1:place w:st=3D"on">Brussels ultimat= ely achieved a high reputation for the beauty and durability of its carpets. Venetian carpets were of less pretending character. Kidderminster and Wilton are our chief original kinds, as Brussels and other foreign-named carpe= ts are really now of English manufacture. For disposition of colour, and variety= of design, this manufacture calls forth an abundance of artistic invention. = Some French carpets (particularly the Gobelins and= D'Aubusson fabrics) are admirable specimens of orna= mental Art. **

** We must = refer to the Encyclopédie Méthodique, vols. i. and ii., for a full exposition of this br= anch of industrial Art, accompanied by elucidatory engravings.(1855f1)<= span lang=3DEN-GB style=3D'mso-ansi-language:EN-GB;mso-no-proof:no'>

$H Carrago.

Carrago (i.e. formed= of carri or carts). A kind of intrenchment peculiar to ce= rtain barbarous nations. It was constructed by drawing up = waggons and war‑chariots in a curved line, approaching a circle as nearly as the nature of the ground permitted. It formed a first line of defence, behind which the combatants sheltered them= selves in order to defend the camp proper, which lay in the centre of the carrago= .(1883m1)

$H Carrara Marble.<= span style=3D'mso-spacerun:yes'>

Carrara= Marble. A white marble of extraordinary beauty and brilliance obtained from the quarries of Carrara in Italy= , and used by sculptors.(1891a1)

$H Carreaux. Mediaeval

Carreaux. Med. Fr. Q= uarrels for cross‑bows, so called from their square form.(1883m1)

$H Carriage <= span style=3D'mso-spacerun:yes'> [See Car and C= arpentum]

$H Carriolum. (See CARROCIUM.= ) (1883m1)

$H Carroballista or Carrobalista.

Carroballista or Carrobalista (carrus= , a car). A ballista mounted up= on a carriage, to be transported from place to place. (See BALLISTA.)(1883m1)<= o:p>

$H Carrocium, Carrocerum. Mediaeval

Carrocium, Carrocerum. Med. Lat. A standard fixed on a carriage.(1883m1)

$H Carrotus. A quarrel. (See CARELLUS, &c.) (1883m1)

$H Carruca, Carrucha.

Carruca, Carrucha, or Carucha. A carriage of costly description, richly ornamented with bronze and ivory carvings and chased gold. It differed wi= dely from the ESSEDO and the RHEDA (q.v.).(1883m1)

$H Carrus or Carrum.

Carrus or Carrum. (C= eltic root). A cart or chariot of Gaulish invention= , on two wheels, used in the army as a commissariat waggo= n. A carrus= occurs among the sculptures on the column of Trajan<= /span>.(1883m1)

$H Cartamera.

Cartamera (Gaulish word). A Gaulish girdle made of metal, and used to support the braccae, or trousers. It = was made sometimes in the form of a serpent with its tail in its mouth, but m= ore generally resembled a fringe of twisted hemp, like the torques, by which name accordingly it was known among the Rom= ans. (See TORQUES.) (1883m1)

$H Cartibulum.

Cartibulum R. (corrupted from gertibulum, i.e. that whi= ch bears or carries). A side‑board, consisting of a square slab of sto= ne or marble, supported in the middle by a pedestal or stem. The cartibulum always stood against a wall.(1883m1)

$H Cartisane.

Cartisane. A small piece of parchment, which was worked into ancient embroideries of s= ilk, gold, or silver thread in order to obtain relief.(1891a1)

$H Cartoon.= Painting

Cartoons. (Paint.) = A name given to the studies made by artists before they undertake the execution = of a picture or fresco. As frescoes (q.v.) have to be executed on a fresh grou= nd, which renders any retouching impossible, fresco painters are obliged to m= ake full‑sized designs which have only to be traced upon the ground. The paper used for this purpose was called in Italian cartone. Thence it became= the custom to denote by the term cartoon all preparatory sketches of artists. Thus the designs executed by Raphael to be carried out in tapestry, and n= ow in the South Kensington Museum= , are known as cartoons.(1891a1)

Cartoon (Fr.), CARTONE (Ital.) Stout paper a= nd pasteboard, hence the term came to be applied by the Italians to the draw= ings and sketches made on this material. In the language of Art, CARTOONS are sketches of figures or groups carefully drawn upon pasteboard, the size or thickness of which depends upon the artist's purpose. They are principally used in fresco; the design is pierced in the prominent outlines with pin-= holes. When they are fastened to the mortar, they are powdered with charcoal-dus= t, which, passing through the pin-holes, makes the outline sufficiently visi= ble on the mortar. Cartoons executed in colour, like paintings, are used for designs in tapestries, of which those by Raffaelle, at Hampton Court, are well-known exa= mples. (1855f1)

$H Cartouch. Egypt

The name given by the French Egyptologists= to the elongated ring, or signet, within which the Hieroglyphic characters of the royal names are enclosed. Those of the earliest monarchs are the simplest, and those of the Ptolemaic period the most complex of the serie= s. (1876c1)

$H Cartouche. 1. Ornament; 2. Egypt

An ornament with an empty space in its centre to receive= an inscription, cipher, or emblem. Cartouches sometimes consist of mouldings, but more generally of scrolls trimmed with garlands, flowers, and foliage= . In the Gothic period cartouches assumed the form of ban= nerolles with their ends rolled up. The richest and most beautiful cartouches date from the Renaissance. Those of the 17th and 18th centuries are generally = too exuberantly decorated, but they always bear evidence of a fertile imagination. The name cartouche is also given to the ovals, bearing hieroglyphic instructions, which were placed in the tombs of Egyptian kin= gs. 3 ILLUS. cartouc1, cartouc2, carto= uc3(1891a1)

&nbs= p; &nbs= p; =

Egypt= . The name given to the elliptical enclosure with a line at the end, in which w= as inscribed the royal name. It may be the representation of an elongated se= al. The “cartouche” of a Pharaoh is his name enclosed by this lin= e. Only royal names were written thus. Each king had at least two cartouches, one containing his prenomen or divine name, the other his dynastic cognom= en.(1902b1)

Egyp. An elliptical tablet of scroll‑like for= m, containing the names of the Pharaohs. Fig. 139 represents the cartouche of King Artaxerxes. Cartouches were applied to decorate columns, an illustration of which may be seen on the abacus and capital of the column in Fig. 140.

Fig. 139. Egyptian Cartouche. Fig. 140. Egyptian Column = with Cartouche.(1883m1)

&nbs= p; &= nbsp; &nbs= p; <= /o:p>

Cartouche. (Fr.) The ovals containing ro= yal names in ancient Egyptian monuments. * A sculptured ornament, in the form of a scroll unrolled, used as a field = for inscriptions, &c., in modern times, is also termed cartouche.

* See cut = to CAVO-RELIEVO. (1855f1)<= /span>

$H Cartridge Paper or Cartridge-Paper.

Cartridge Paper. A strong paper with a rough surface much used for drawing upon. It received its name from the fact that it was originally employed in the manufacture of gun cartridges.(1891a1)

Cartridge-Paper. Paper of a strong texture, originally manufactured for soldiers' cartridges, which are cases of paper made to fit the bore of a gun, and filled with gunpowder. It is extensively used in the Arts, its rough surf= ace sometimes giving it an advantage for drawing upon. It consists of three kinds, known as common cartridge-paper, engineer's cartridge, and double engineer's cartridge. (1855f1)

$H Carucassi. Assyria

Carucassi= . A people who und= er their king Kastasite assisted Nabopalassar to destroy the Assyrian empire. They were probably the inhabitants of the district now called Caucasia<= /span>. (1876c1)

$H Carucha [See Carruca]

$H Carving.=

The art of cutting wood and ivory into beautiful forms a= nd shapes is called carving. Amo= ng the ancients rude figures of the gods were carved in wood. In the earliest wo= rks of sculptured stone, the influence which wood‑carving had on the ar= tist may easily be discerned. The art of carving ivory was carried to perfecti= on by the Greeks, and was particularly employed in the production of chryselephantine statues (q.v.). Throughout the Gothic period woodcarving= was cultivated with great success, and especially applied to the decoration of churches with stalls, screens, rood‑lofts, and canopies. At the Renaissance the details of classical architecture were introduced into furniture and carved in wood. Numberless cabinets, chairs, and tables are= in existence, both of the Gothic and the Renaissance period, which testify to the skill of wood‑carvers. The most celebrated wood‑carver of more modern times is perhaps Grinling Gibbons= , to whom we owe the stalls of St= . Paul's Cathedral and many other masterpieces. In the present day wood‑carv= ing like all other handicrafts has fallen into decay.(1891a1)

Carving. A branch of sculpture usually limited to works in wood and ivory; sculpture, properly so called, being generally applied to carving in stone or marble. Various kinds of wood were used by= the ancients, chiefly for images of the gods, to each of which a different or particular kind of wood was appropriated; as, for instance; the images of= Dionysia, the god of figs, were made of the wood of the fig-tree. IVORY was also us= ed to a great extent by the ancients in their works of Art; and the CHRYSELEPHANTINE sculpture, or the union of gold with ivory, was adopted = by the greatest artists. For a long period prior to the Reformation in this country, there was an immense demand for fine wood carvings, as the remai= ns in our cathedrals, churches, and colleges, of screens, canopies, desks, chair-seats; and in baronial halls, of door-frames, staircases, chimney-p= ieces, cabinets, picture-frames, sufficiently show. Since that event, the art ha= s in a great measure fallen into disuse. One of the most eminent modern artist= s in wood was Grinling Gibbons, a native of this country. There is one of his = best works in the choir of St. Paul's, Machinery has lately been applied with great success to WOOD CARVING, and may serve to revive the taste for such works in interior decoration and in furniture. (1855f1)

$H Caryatides. Architecture

Caryatides (<= span style=3D'font-family:"WP Greek Courier";mso-ascii-font-family:"Times New = Roman"; mso-hansi-font-family:"Times New Roman";mso-char-type:symbol;mso-symbol-f= ont-family: "WP Greek Courier";mso-no-proof:no'>5"DLVJ4*,H[=3DKaruatides], i.= e. women of Caryae). Female figures, in an upright pos= ture, which were employed in lieu of columns to support entablatures or any oth= er members of architecture. One of the finest instances of the application of caryatides to this purpose is to be found in the portico of the temple of Pandrosos, at Athens.(1883m1)

Caryatides (Arch.) Figures of women which serve as a support= and take the place in classical buildings of columns or pilasters. The caryat= ides of the Pandroseion at = Athens represent female figures holdi= ng baskets of fruit on their heads. [Atlantes.] ILLUS. caryatid(1891a1)

<= /o:p>

Caryatides. (Gr.) Under the article ATLAN= TES we described the male figures us= ed to support the entablature and other parts of ancient buildings. CARYATIDES = are female statues used for the same purpose, and are very abundant in the remains of ancient architecture, possessing much grace and dignity of bearing, notwithstanding the servile character of their employment. *= * They are said to have been originally intended to denote the subjection o= f Caryae in Arcadia, the inhabitants of which city ha= ving warred, in company with the Persians, against the Greeks, were defeated by that people, who destroyed the city and its male inhabitants, carrying the females into bondage. To commemorate the disgrace, representations of them were employed as supports to architecture, in the same way as the Persians were sculptured for Telamones. FIGURE

** Our example is ta= ken from one at Athens.(1855f1)

<= /o:p>

$H Caryatis.

A festival in honour of Artemis Caryatis, which was celebrated at Caryae, in Laconia.(1= 883m1)