CARTOON 



1208 



CARTWRIGHT 



those shown in the daily papers are merely 

 humorous or entertaining, and have no touch 

 of satire. 



The great success of clever cartoonists should 

 interest young students to study carefully the 

 elements that enter into the pictures of their 

 favorite artists. The technique, the elimina- 

 tion of all unnecessary lines, the selection of 

 the essential characteristics, the certain empha- 

 sis, the appeal to the sense of the humorous 

 by just the right line all these enlist our 

 keenest interest, study and criticism. But the 

 intelligence back of the pencil, the knowledge 

 of history, the understanding of present condi- 

 tions in government, the appreciation of indi- 

 vidual characteristics prove that the successful 

 cartoonist must be a student as well as an 

 artist, with imagination and with charity. 



The power of a cartoonist of ability can 

 scarcely be over-estimated, and his responsi- 

 bility is also great. The follies and wicked- 

 ness of life are legitimate subjects for carica- 

 ture, but honest effort, ideal enterprise, heroic 

 adventure into untried paths, however futile 

 they may appear, should not be the objects 

 of attack by the ambitious cartoonists. 



Any one who has an obedient pencil, a touch 

 of the true cartoonist's genius, should cultivate 

 the gift as one of highest value, and make of 

 his art an element of helpfulness in the world. 



As the article CARICATURE relates, Leonardo 

 da Vinci made caricatures, but he also made 

 cartoons. In those days the two were en- 

 tirely different, for originally a cartoon was 

 a drawing made on heavy paper and used as 

 a model for a large picture in fresco, tapestry 

 or oil. It was made exactly the size of the 

 picture intended, and the design was trans- 

 ferred to the canvas or wall by means of trac- 

 ing or pin-pricking. The process was much 

 like that by which school children produce 

 maps, for carbon was smeared on the back of 

 the drawing. Some of the old cartoons or de- 

 signs of the master painters have a real value 

 of their own, aside from that of the finished 

 painting. Most famous of all which have sur- 

 vived are seven cartoons of Raphael for the 

 Vatican tapestries, which are preserved in the 

 South Kensington Museum in London. Mod- 

 ern painters seldom use the cartoon method, 

 though it has not been entirely abandoned. 



Related Subjects. Of the famous cartoonists 

 or caricaturists, the following are treated in 

 these volumes : 



Bengough, John Wilson Du Maurier, George 

 Briggs, Clare A. Louis 



Cruikshank, George Gibson, Charles Dana 



Hogarth, William Opper, Frederick B. 



McCutcheon, John T. Outcault, Richard F. 

 Nast, Thomas Tenniel, John 



CARTOUCHE, kahrtoosh', a word applied 

 to various oval ornaments, scrolls or shields 

 used in heraldry and art. A special use of the 

 term occurs in Egyptian archaeology, the car- 

 touche being an oblong 

 frame with oval ends, 

 which enclosed the names 

 of kings and queens en- 

 graved on monuments. 

 The scroll-shaped volute 

 of the capital crowning 

 the shaft of an Ionian col- 

 umn (see COLUMN) is an 

 example of the use of the 

 cartouche in architecture. 

 In heraldry the term de- 

 notes an oval shield with 

 a convex surface, on which 

 were borne the arms of 

 the Pope and Church offi- 

 cials- of noble birth. 



The modern use of the 

 word is borrowed from the CARTOUCHE 

 Italian cartoccio, meaning The name of Khu- 

 roll of paper. Originally a fu < Che P s >- 

 cartouche was a roll of parchment, paper or 

 other material which held the charge of pow- 

 der and shot of a firearm, that is, a cartridge. 

 The word cartridge is itself a corruption of 

 cartouche. 



CARTRIDGE, kahr'trij, a corruption of the 

 French word cartouche, the name given to a case 

 of paper or metal holding a charge of explosive 

 powder and a bullet or a number of pellets, 

 to be fired from firearms. The cartridge used 

 in modern rifles and machine guns is a cylinder 

 made from brass and contains a percussion cap 

 at the base. The explosive is inserted in the 

 cylinder and the bullet is placed on top of it, 

 the brass being crimped or pressed against the 

 bullet to hold it firmly in place. Cartridges 

 for shotguns are usually made of stout paper 

 in several thicknesses, with a brass base to give 

 additional strength and hold the percussion 

 cap. A blank cartridge is a cartridge with a 

 charge of explosive, but without ball or shot. 

 See AMMUNITION; PROJECTILE. 



CART 'WRIGHT, EDMUND (1743-1823), the 

 English inventor whose crude machine for cot- 

 ton-weaving, constructed in 1785, laid the foun- 

 dation for the magnificent power looms of the 

 present day. He was born in Nottinghamshire, 

 educated at Oxford, and became a clergyman 



