Page:Encyclopædia Britannica, Ninth Edition, v. 5.djvu/177

Rh tinuod by other hands. A copious account of the order may be found iu Dugdale s Monasticon, and one yet more extended in the Chronicle of the Chartreuse by Dorian ; see also the Oriyines Carlhusianorum, Cologne, 1609. A chronology of all the priors of the order was published at Rome in 1G22. The device of the order consists of a globs surmounted by a cross, with the legend &quot; Stat crux dum volvitur orbis.&quot;  {{ti|1em|{{larger|CARTIER}}, {{sc|Jacques}}, a French navigator, was born, at St Malo, in Brittany, in 1494. According to the custom of the place, even his early youth was passed upon the sea ; and he was probably already acquainted with the coast of Newfoundland when he was appointed by Francis I. to the command of the two ships, which, on the 20th of April 1534, set sail from St Malo, for the purpose of exploring the district be} 7 ond the fishing grounds. Cartier first touched at Cape Buonavista, on the east coast of Newfoundland, then passed northward along the coast, and, sailing south-west through the Straits of Belle Isle, dis covered the mainland of Canada, which he claimed for France, by erecting a wooden cross with the inscription &quot; Vive le Roy de France.&quot; Next year a second expedition was placed under his control to explore the estuary of the St Lawrence. He penetrated as far as Hochelaga, a large fortified village at the foot of a hill, to which he gave the name of Mont Royal, and which is the site of the modern Montreal. But he did nothing more, and returned on the 16th May 1536, disgusted with the climate and with his crew weakened by scurvy, a disease then unknown in Europe. The idea of colonizing Canada was abandoned after this, till in 1540 Jean Francis de la Roche, Seigneur de Roberval, obtained permission to form a settlement. The project was carried out partly at Roberval s and partly at the king s expense ; Cartier was sent out in command of five ships, in the spring of 1541 ; and in the autumn he arrived at the mouth of the St Lawrence. Near the present situation of Quebec he built a fort named Charlesbourg. But the Indians, whose king he had carried off with him on his last voyage, annoyed him so much with their attacks that he determined to return to France ; and though Roberval arrived at Newfoundland in June 1542, with three ships and a colony of 200 men and women, and commanded him to turn back, he con tinued his homeward voyage. Whether this was his last expedition is disputed. Some say that he returned to the assistance of Roberval, in the autumn of 1543 ; but if this be so, we know nothing more. The rest of his life was spent in his native town or at the village of Limoilon, of which he was created seigneur by his patron Francis I. He was alive in 1552 ; but the date of his death is not known.}}

1em  CARTOON (Italian, cartone, pasteboard), in painting, is a design drawn on thick paper or other material, which is used as a model for a large picture in fresco, oil, or tapestry. It was also formerly employed in glass and mosaic work. When cartoons are used in fresco-paint ing, 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 &quot;pounced,&quot; i,e., a bag of black colouring-matter is drawn over the perforations, and the outlines are thus transferred to the wall. In fresco-paint ing, 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 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 tho 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 South Kensington Museum in London, having been removed thereto from their proper home, the palace of Hampton Court. With respect to their merits, they count among the best of Raphael s productions, Lanzi even pro nounces 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 design ing (in 1515-1G) 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 Sixtine 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 Jew 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 Francesco Fenni, 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 ere purchased by Charles I., on the recommendation of Rubens. They were found much injured, &quot; holes being pricked in them for the weavers to pounce the outlines, and in other parts they were almost cut through by tracing.&quot; It has never been ascertained what became of the other cartoons. Three tapes tries, 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 extra ordinary celebrity in art-history attaches, were those exe cuted in competition by Leonardo da Vinci and by Michel angelo, the former named the Battle of tbe Standard, and the latter the Cartoon of Pisa Soldiers bathing, sur prised 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, ic. ; 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 took 