scribed as MELANCHOLIAand he painted very little during
the last five years of his life.
Carracci, Lodovico (1555–1619) Italian painter
Though less gifted than his younger cousin Annibale CAR-
RACCI, Lodovico was the dominant figure during their
early partnership in their native Bologna. With the broth-
ers Annibale and Agostino, Lodovico decorated the Fava,
Magnani, and Sampieri palaces in Bologna in the 1580s
and early 1590s, and with them founded a teaching acad-
emy there in 1585. This academy was run by him alone
after his cousins left for Rome (1595) and was responsible
for training most of the next generation of Bolognese
painters including Domenichino, Il Guercino, and Guido
Reni. Lodovico’s best paintings were produced during the
10 years before he and his cousins parted company. They
are remarkable for their forceful emotional expression.
Cartier, Jacques (1491–1557) French navigator,
discoverer of the St. Lawrence River
Born at St.-Malo, Cartier was commissioned by King Fran-
cis I to find a NORTHWEST PASSAGEto the Orient, and in
1534 he sailed with two ships and 61 men. He followed
the coast of Newfoundland and established friendly rela-
tions with the Huron-Iroquois, by whose word for village,
“Canada,” he named the territory. Cartier returned to
France for the winter, but went back to Canada in 1535.
He landed at the bay of St. Lawrence on August 9, then
navigated the river as far as the site of Montreal. Inspired
by tales of an enchanted land north of Mexico, Cartier
then decided to explore the Ottawa River, but before doing
this he returned to France with 12 native American elders
to convince a skeptical Francis I. In spring 1541 Cartier
left St.-Malo with five vessels, and from his camp at Cap
Rouge, he navigated the Ottawa. He returned to France
with many mineral samples but these were found to be
worthless. Consequently, Cartier fell from royal favor, and
the French lost interest in Canada. The true value of
Cartier’s work was not realized until the French opted to
develop their Canadian territory.
cartography The science of maps, charts, and globes. As
the golden age of discovery, the Renaissance is the period
in which cartography became established and flourished.
New discoveries led to maps becoming more detailed and
accurate; consequently, cartography became of greater use
to EXPLORATION, and mutual development was promoted.
Early Renaissance cartography was based on the work
of the second-century Greek geographer Ptolemy, whose
Geographica (first printed edition with maps, 1477) was
the first-ever atlas (although the term “atlas” was not
widely used until MERCATORpopularized it). The socalled
T-O world maps of the medieval period persisted in early
Renaissance publications. In 1492 the Nuremberg mer-
chant Martin Behaim made a globe that still survives and
so introduced a new dimension into cartography. Fra
Mauro had portrayed the world in circular form as early as
1459 (see CAMALDOLESE CHART).
In the late 15th and early 16th centuries, the Por-
tuguese made best practical use of the development of car-
tography. Their Casa du India provided information for
many explorers and merchants, and the maps (1520) of
Garcia de Toreno were vital to MAGELLAN’s circumnaviga-
tion of the world. The Portuguese had enough confidence
in their cartographers deliberately to misplace certain ter-
ritories within areas granted to them under the Treaty
of TORDESILLAS. The Italians and Germans continued to
develop Ptolemy’s ideas. In 1507 Martin Waldseemüller
showed America as a separate continent for the first time
(see VESPUCCI, AMERIGO). Some years later Johann Schöner
popularized globes.
Between 1460 and 1540 German cartographers, such
as Sebastian MÜNSTERand Philipp APIAN, revolutionized
the instruments of the trade and cartography developed
as a science. GEMMA FRISIUS used a planimetrum,
Waldsmeemüller developed the polymetrum (an early
form of theodolite), and Philipp Apian’s map of Bavaria
(1579) introduced grid references. The most important in-
dividual was Gerardus Mercator, inventor of the Mercator
projection; this rectangular format for maps is still in com-
mon use. Using copperplate printing, which began to su-
persede the old woodcut technique around 1550,
Mercator combined Ptolemy’s data with technological de-
velopments to produce maps of unprecedented accuracy
and proportion. Mercator’s world map (1569) is the first
example of his projection.
In 1579 Christopher SAXTONproduced an atlas of
England, the first ever national atlas. Maurice Bouguereau
published the French counterpart, Le Theatre Françoys, in- By 1620 most leading European nations boasted
comprehensive geographies and atlases.
Further reading: Leo Bagrow and Robert W. Karrow
Jr, Mapmakers of the Sixteenth Century and Their Maps
(Chicago, Ill.: Speculum Orbis Press, 1993); Jerry Brotton,
Trading Territories: Mapping the Early Modern World
(Ithaca, N.Y.: Cornell University Press, 1998); David Buis-
seret, The Mapmakers’ Quest: Depicting New Worlds in Re-
naissance Europe (Oxford, U.K.: Oxford University Press,
2003); Francesc Relaño, The Shaping of Africa: Cosmo-
graphic Discourse and Cartographic Science in Late Me-
dieval and Early Modern Europe (Aldershot, U.K.: Ashgate,
2001); Kees Zandvliet, Mapping for Money: Maps, Plans
and Topographic Paintings and Their Role in Dutch Overseas
Expansion in the 16th and 17th Centuries (Amsterdam,
Netherlands: Batavian Lion International, 1998).
Casa, Giovanni della See DELLA CASA, GIOVANNICasaubon, Isaac (1559–1614) French classical scholar
His Protestant family were refugees from the French reli-9922 CCaarrrraaccccii,, LLooddoovviiccoo