Page:Encyclopædia Britannica, Ninth Edition, v. 5.djvu/117

Rh comical dreams of Rabelais,&quot; and Chatnpfleury discovers analogies between him and Hoiiore Dauruier, the greatest caricaturist of modern France. The satirical grotesque of the 18th century had been characterized by a sort of grandiose brutality, by a certain vigorous obscenity, by a violence of expression and intention, that appear monstrous in these days of reserve and restraint, but that doubtless sorted well enough with the strong party feelings and fierce political passions of the age. After the downfall of Napoleon (1815), however, when strife was over and men were weary and satisfied, a change in matter and manner came over the caricature of the period. In connection with ihis change, the name of George Ouikshank (1792 ), an artist who stretches hands on the one side towards Hogarth and Gillray, and on the other towards Leech and Tenniel, deserves honour able mention. Cruikshank s political caricatures, some of which were designed for the squibs of William Hone (1779-1842), are, comparatively speaking, uninteresting ; his ambition was that of Hogarth the production of &quot;moral comedies.&quot; Much of his work, therefore, may be said to form a link in the chain of development through which has passed that ironical genre to which refer ence has already been made. In 1829, however, began to appear the famous series of lithographs, signed H.B., the work of John Doyle (1798-1868). These apt but feeble jocularities are interesting other than politically; thin and weakly as they are, they inaugurate the style of political caricature which obtains, with but few and slight variations, at the present date. In France, meanwhile, with the farcical designs of Pigal and the realistic sketches of Henri Monnier, the admirable portrait-busts of Dantan the younger, and the fine military and low-life drolleries of Charlet (1792-1845) were appearing, and in these modern social caricature may be said to be fairly embodied. Up to this date, though journalism and caricature had some times joined hands (as in the case of the Craftsman and the Anti-jacobin, and particularly in Les Revolutions de France et de Brabant and Les Actes des Apvtres], the alliance had been but brief ; it was reserved for Charles Philipon (1802-1862), who may be called the father of comic journalism, to make it lasting. La Caricature, founded by Philipon in 1831, and suppressed in 1833 after a brief but glorious career, was followed by Le Charivari, which is perhaps the most renowned of the innumerable enterprises of this extraordinary man. Among the artists he assembled round him, the highest place is held by Honore Daumier, a draughtsman of great skill, and a caricaturist of immense vigour and audacity. Another of Philipon s band was Sulpice Paul Chevalier (1801-1866), better known as Gavarni, in whose hands modern social caricature, advanced by Cruikshank and Charlet, assumed its present guise, and became elegant. Mention must also be made of Grandville (1803-1847), the illustrator of La Fontaine, and a modern patron of the medieval skeleton ; of Travies, the father of the famous hunchback &quot; Mayeux ;&quot; and of Amedee de Noe, or &quot;Cham,&quot; the wittiest and most ephemeral of pictorial satirists. In 18iO, the pleasantries of &quot;H.B.&quot; having come to an end, there was founded, in imitation of this enterprise of Philipon, a comic journal which, under the title of Punch, or the London Charivari, has since become famous all over the world. Its earliest illustrators were John Leech (1817-1864) and Richard Doyle, whose drawings were full of the richest grotesque humour. It is in the pages of Punch that the growth of modern pictorial pleasantry may best be traced. Of late years all the &quot; cartoons, &quot; or political caricatures, have been the work of John Tenniel ; they exhibit few of the features of caricature as it was understood by Gillray and Daumier ; their object is not to excite hatred or contempt, but at most to raise a smile. In social subjects, George Dumaurier a fine draughtsman, though somewhat mannered and fond of a single type of face and figure, has carried the ironical genre, received by Leech from Gavarni and Charlet, to the highest point of elegance it has attained. Of caricature, in the primitive sense of the word, there is but little. The fall of the French Empire and the subsequent siege of Paris, together with the reign of the Commune a popular movement, though confined to a single city produced a plentiful crop of genuine carica tures, remarkable both for bitterness and for ability. Among the few caricatures that now find favour may be mentioned the graceful and genial caprices of Sambourne, the clever portraits of &quot;Gill,&quot; a Parisian artist, and especially the remarkable series of portraits published in London since 1862, in Vanity Fair, the work of Pellegrini, which are cer tainly the most remarkable of their kind that have appeared since the superb grotesques of Honore&quot; Daumier.

1em  CARIES, ulceration of bone, is the result of inflammation, and resembles in its chief characteristics ulceration in soft tissues, as skin and muscle. Situated in a tissue largely composed of inorganic material, it is chronic in its course, and cured with difficulty. The exciting cause is generally an injury. It is frequently associated with scrofula. The cancellated tissue of bone is specially liable ; the short bones of the hand and foot, the articular extremities of the long bones, and the bones forming the vertebral column are its chief seats. It is preceded by the formation of matter, and when this escapes, either by natural processes or by the assistance of the surgeon, the diseased bone can be felt by the aid of a probe, passed through the sinus or channel which leads to the carious bone. This sinus does not heal until the disease heals or is removed. The treatment generally adopted consists in removing the diseased bone by gouging or by excision. If the primary abscess is opened and dressed antiseptically for a lengthened period, the ulcerated bone often heals without further operation. This method of treatment is most valuable in cases of caries of the vertebral column, in which it would be impossible to remove the disease by gouging or excision.  CARIGNANO, a town of northern Italy, in the province of Turin, and about 20 miles south of that city, is situated on the left bank of the Po, here crossed by a wooden bridge. It is surrounded by old walls, and has a handsome church, built in 1766, according to the design of Alfieri, a communal college, and several convents. The population, numbering about 8000, is chiefly engaged in the spinning of silk and the manufacture of confectionery, the principal depart ment in the latter industry being the preparation of the citron rind.

1em  CARIMATA ISLANDS, a group in the East Indian Archipelago, lying to the West of Borneo, between that island and Billiton, in the channel to which they give their 