Scandinavia.—Caricature flourishes also in the Scandinavian countries, but few names are known beyond their borders. Professor Hans Tegner of Denmark is an exception; his illustrations to Hans Andersen (English edition, 1900) have carried his name wherever that author is appreciated, yet his reputation was made in the Danish Punch, which was founded after the year 1870 but has long ceased to exist. Alfred Schmidt and Axel Thiess have contributed notable sketches to Puk and its successor Klockhaus, but in point of style they scarcely carry on the tradition of their predecessor, Fritz Jürgensen. Among humorous artists of Norway, Th. Kittelsen perhaps holds the leading place, and in Sweden, Bruno Liljefors, best known as a brilliant painter of bird life.
Bibliography.—Rules for Drawing Caricature, with an Essay on Comic Painting, by Francis Grose (8vo, London, 1788); Historical Sketch of the Art of Caricaturing, by J. Peller Malcolm (4to, London, 1813); History of Caricature and Grotesque in Literature and Art, by Thomas Wright (8vo, London, 1865); Musée de la caricature, by Jaime; (a) Histoire de la caricature antique; (b) Histoire de la caricature au moyen âge et sous la renaissance; (c) Histoire de la caricature sous la réforme et la ligue; (d) Histoire de la caricature sous la république, l’empire, et la restauration; (e) Histoire de la caricature moderne (5 vols.), by Champfleury (i.e. Jules Fleury), (8vo, Paris); Le Musée secret de la caricature, by Champfleury (i.e. Jules Fleury), (8vo, Paris); L’Art du rire et de la caricature, by Arsène Alexandre (8vo, Paris); Caricature and other Comic Art, by James Parton (sm. 4to, New York, 1878); Le Miroir de la vie: la Caricature, by Robert de la Sizeranne (8vo, Paris, 1902), (tracing the aesthetic development of the art and spirit of caricature); La Caricature à travers les siècles, by Georges Veyrat (4to, Paris); La Caricature et les caricaturistes, by Émile Bagaud (with a preface by Ch. Léandre), (fo., Paris); Le Rire et la caricature, by Paul Gaultier (with a preface by Sully Prudhomme), (8vo, Paris, 1906), (a work of originality, dwelling not only on the aesthetic but on the essentially pessimistic side of satiric art); English Caricaturists and Graphic Humorists of the Nineteenth Century, by Graham Everitt (i.e. William Rodgers Richardson), (4to, London, 1886), (a careful and interesting survey); La Caricature en Angleterre, by Augustin Filva (8vo, Paris, 1902), (an able criticism from the point of view of psycho-sociology); The History of Punch, by M.H. Spielmann (8vo, London, 1895), (dealing with caricature art of England during the half-century covered by the book); Magazine of Art, passim, for biographies of English caricaturists—“Our Graphic Humorists”; Social Pictorial Satire, by George du Maurier (12mo, London, 1898); Les Moeurs et la caricature en France, by J. Grand-Carteret (8vo, Paris, 1885); La Caricature et l’humeur français au XIXe siècle, by Raoul Deberdt (8vo, Paris); Les Maîtres de la caricature française en XIXe siècle, by Armand Dayot (Paris); Nos humoristes, by Ad. Brisson (4to, Paris, 1900); Les Moeurs et la caricature en Allemagne, &c., by J. Grand-Carteret (8vo, Paris, 1885). See also biographies of Charles Keene, H. Daumier, John Leech, &c., indicated under those names.
(M. H. S.)
CARIGARA, a town of the province of Leyte, island of Leyte, Philippine Islands, on Carigara Bay, 22 m. W. of Tacloban, the capital. Pop. (1903) 19,488, including that of Capoocan (3106), annexed to Carigara in the same year. Carigara is open to coast trade, exports large quantities of hemp, raises much rice, and manufactures cotton and abaca fabrics. It also has important fisheries.
CARIGNANO, a town of Piedmont, Italy, in the province of Turin, 11 m. S. by steam tramway from the town of Turin. Pop. (1901) town, 4672, commune, 7104. It has a handsome church (S. Giovanni Battista) erected in 1756-1766 by the architect Benedetto Alfieri di Sostegno (1700-1767), uncle of the poet Alfieri. S. Maria delle Grazie contains the tomb of Bianca Palaeologus, wife of Duke Charles I. of Savoy, at whose court Bayard was brought up. The town passed into the hands of the counts of Savoy in 1418.
Carignano was erected by Charles Emmanuel I. of Savoy into a principality as an appanage for his third son, Thomas Francis (1596-1656), whose descendant, Charles Albert, prince of Carignano, became king of Sardinia on the extinction of the elder line of the house of Savoy with the death of Charles Felix in 1831. The house of Carignano developed two junior branches, those of Soissons and Villafranca. The first of these, which became extinct in 1734, was founded by Eugene Maurice, second son of Thomas, by his wife Marie de Condé, countess of Soissons, who received his mother’s countship as his appanage. In 1662 the town of Yvois in the Ardennes was raised by Louis XIV. into a duchy in his favour, its name being changed at the same time to Carignan. The famous Prince Eugene was the second son of the first duke of Carignan. The branch of Villafranca started with Eugene Marie Louis (d. 1785), second son of Louis Victor of Carignano, whose grandson Eugene (1816-1888), afterwards an admiral in the Italian navy, was created prince of Savoy-Carignano, by King Charles Albert in 1834. He had contracted a morganatic marriage, and in 1888, on the occasion of his silver wedding, the title of countess of Villafranca was bestowed upon his wife, his eldest son, Filiberto, being at the same time created count of Villafranca, and his younger son, Vittorio, count of Soissons.
CARILLON, an arrangement for playing tunes upon a set of bells by mechanical means. The word is said to be a Fr. form of Late Lat. or Ital. quadriglio, a simple dance measure on four notes or for four persons (Lat. quattuor); and is used sometimes for the tune played, sometimes (and more commonly in England) for the set of bells used in playing it. The earliest medieval attempts at bell music, as distinct from mere noise, seem to have consisted in striking a row of small bells by hand with a hammer, and illustrations in MSS. of the 12th and 13th centuries show this process on three, four or even eight bells. The introduction of mechanism in the form either of a barrel (see [Barrel-organ]) set with pegs or studs and revolving in connexion with the machinery of a clock, or of a keyboard struck by hand (carillon à clavier), made it possible largely to increase the number of bells and the range of harmonies. In Belgium, the home of the carillon the art of the carillonneur was at one time brought to great perfection and held in high esteem (see [Bell]); but even there it is gradually giving way to mechanism. In England manual skill has never been much employed, though keyboards on the continental model have been introduced, e.g. at the Manchester town hall, at Eaton Hall, and elsewhere; carillon music being mainly confined to hymn tunes at regular intervals (generally three hours), or chimes at the hours and intervening quarters. The “Cambridge” and “Westminster” chimes are very familiar; and more recently chimes have been composed by Sir John Stainer for Freshwater in the Isle of Wight (“Tennyson” Chimes), and by Sir Charles Stanford for “Bow Bells” in London.