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See also:CARTOON (Ital. cartone, pasteboard) , a See also:term used in pictorial See also:art in two senses. (I) In See also:painting, a cartoon is used as a See also:model for a large picture in See also:fresco, oil or See also:tapestry, or for statuary. It was also formerly employed in See also:glass and See also:mosaic See also:work. When cartoons are used in fresco-painting, the back of the See also:design is covered with See also:black-See also:lead or other colouring See also:matter; and, this See also:side of the picture being applied to the See also: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 See also:needle, and the cartoon, being placed against the wall, is " pounced," i.e. a bag of black colouring-matter is See also: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 See also:plaster. Their See also:contour was then traced with a pointed See also:instrument, and the outlines appeared lightly incised upon the plaster after the portion of the cartoon was withdrawn.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 See also:representation of the figures of cartoons, these figures are sometimes cut out, and laid behind or under the woof, to See also:guide the operations of the artist. In this See also:case the cartoons are coloured.
Cartoons have been executed by some of the most distinguished masters; the greatest extant performances in this See also:line of art are those of See also:Raphael. They are seven in number, coloured in distemper; and at See also:present they adorn the See also:Victoria and See also:Albert Museum, in See also:South See also:Kensington, having been removed thither from their former See also:home, the See also:palace of See also:Hampton See also:Court. With respect to their merits, they See also:count among the best of Raphael's productions; See also:Lanzi even pronounces them to be in beauty See also:superior to anything else the See also: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 See also:harmony of design, in the universal See also:adaptation of means to one See also:great end, and in the grasp of soul which they display, they stand among the foremost See also:works of the designing art. The See also:history of these cartoons is curious. See also:Leo X. employed Raphael in designing (in 1515–1516) a See also: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 See also:Chapel. Two See also:principal sets of tapestries were accordingly executed at See also:Arras in See also:Flanders; but it is supposed that neither Leo nor Raphael lived to see them. The set which went to See also:Rome was twice carried away by invaders, first in 1 527 and afterwards in 1798. In the first instance they were restored in a perfect See also:state; but after their return in 1814 one was wanting—the cupidity of a Genoese having induced him to destroy it for the See also:sake of the See also:precious See also:- METAL
- METAL (through Fr. from Lat. metallum, mine, quarry, adapted from Gr. µATaXAov, in the same sense, probably connected with ,ueraAAdv, to search after, explore, µeTa, after, aAAos, other)
metal which it contained. Authorities differ as to the See also: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 See also:woven were not,it would seem, restored to Rome, but remained as See also:lumber about the manufactory in Arras till after the revolution of the See also:Low Countries, when seven of them which had escaped destruction were See also:purchased by See also:Charles I., on the recommendation of See also:Rubens. They were found much injured, " holes being pricked in them for the weavers to See also: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 See also:Stephen, the See also:conversion of St See also:Paul, and St Paul in See also:prison at See also:Philippi.
Besides the cartoons' of Raphael, two, to which an extra-See also:ordinary celebrity in art-history attaches, were those executed in competition by Leonardo da See also:Vinci and by Michelangelo—the former named the See also:Battle of the See also: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 See also:general design of them has been preserved. In See also:recent times some of the most eminent designers of cartoons have been masters of the See also:German school,—Cornelius,. See also:Kaulbach, Steinle, See also:Fuhrich, &c.; indeed, as a general See also:rule, these artists appear to greater See also:advantage in their cartoons than in the completed paintings of the same compositions. In See also:England cartoon-work See also:developed considerably in 1843 and 1844, when a competition was held for the decoration of the new Houses of See also:Parliament. See also:Dyce and See also:Maclise See also:left examples of uncommon See also:mark in this line. The cartoon by Fred. See also:- WALKER, FRANCIS AMASA (1840-1897)
- WALKER, FREDERICK (184o--1875)
- WALKER, GEORGE (c. 1618-169o)
- WALKER, HENRY OLIVER (1843— )
- WALKER, HORATIO (1858– )
- WALKER, JOHN (1732—1807)
- WALKER, OBADIAH (1616-1699)
- WALKER, ROBERT (d. c. 1658)
- WALKER, ROBERT JAMES (1801-1869)
- WALKER, SEARS COOK (1805—1853)
- WALKER, THOMAS (1784—1836)
- WALKER, WILLIAM (1824-1860)
Walker, A.R.A., made to advertise the dramatic version of See also:Wilkie See also:Collins's Woman in See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
White, is now at the See also:Tate See also:Gallery; and cartoons by See also:Ford Madox See also:- BROWN
- BROWN, CHARLES BROCKDEN (1771-181o)
- BROWN, FORD MADOX (1821-1893)
- BROWN, FRANCIS (1849- )
- BROWN, GEORGE (1818-188o)
- BROWN, HENRY KIRKE (1814-1886)
- BROWN, JACOB (1775–1828)
- BROWN, JOHN (1715–1766)
- BROWN, JOHN (1722-1787)
- BROWN, JOHN (1735–1788)
- BROWN, JOHN (1784–1858)
- BROWN, JOHN (1800-1859)
- BROWN, JOHN (1810—1882)
- BROWN, JOHN GEORGE (1831— )
- BROWN, ROBERT (1773-1858)
- BROWN, SAMUEL MORISON (1817—1856)
- BROWN, SIR GEORGE (1790-1865)
- BROWN, SIR JOHN (1816-1896)
- BROWN, SIR WILLIAM, BART
- BROWN, THOMAS (1663-1704)
- BROWN, THOMAS (1778-1820)
- BROWN, THOMAS EDWARD (1830-1897)
- BROWN, WILLIAM LAURENCE (1755–1830)
Brown are in the Victoria and Albert Museum, South Kensington. (W. M. R.)
(2) " Cartoon " is also a term now applied to the large See also:political drawings in the humorous or satirical papers of the See also:day. At an earlier See also:period satirical prints were styled " caricatures," and were issued separately. See also:Gillray, See also:Rowlandson, the three Cruikshanks, See also:Heath and others were popular favourites in this class of design. Even the insignificant little cuts by See also:Robert See also:Seymour in See also:Figaro in See also:London, the diableries in The See also:Fly, and the vulgar and rancorous political skits identified with the See also:flood of scurrilous little papers of the See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time, were dignified by the same term. The See also:long series of Political Sketches by " H. B." (See also:John See also:Doyle) were the first examples of unexaggerated statement, and See also:fair and decorous See also:satire. With the See also:advent of See also:Punch and its various rivals (The Peep-Show, The Great See also:Gun, See also:Diogenes and the like), the general See also: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 See also:Westminster See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
Hall the great See also: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 See also:Queen Victoria. John See also:Leech's See also:drawing in No. Soy of that See also:journal was the first See also:caricature to be called a cartoon: it was entitled " Substance and See also:Shadow: the Poor ask for See also: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 theNew See also:English See also:Dictionary curiously attributes the first use of it to See also:Miss See also: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 See also:illustration of views already formed, rather than as an instrument for the manufacture of public See also:opinion. It has almost wholly lost its rancour; it has totally lost its ferocity—the evolutionary result of See also:peace and contentment, for satire in its more violent and more spontaneous See also: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 See also: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 See also:Sir John See also:Tenniel and some of his imitators), however epic in See also:intuition, it must always figure, so to say, as a leading
See also:article transformed into a picture..
End of Article: CARTOON (Ital. cartone, pasteboard)
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