CARDOT
345
The cardinal virtues unite I ho intellectual element
and the affective. .Much has been said recently of
heart going beyond intellect in virtue; hut the car-
dinal virtues, while concerned with the appetitive or
affective parts, place prudence as the judge over all.
Similarly the theological virtues place faith as the
foundation of hope and charity. There is thus a com-
pleteness about the system which may be asserted
without the pretence that essentially these four vir-
tues must lie marked off as a quartet among virtues.
If the (becks had not written, perhaps the Church
would not have had exactly this fourfold arrange-
ment. Indeed the division of good conduct into sep-
arate virtues is not an instance of hard and fast lines.
The solidarity of the virtues and their interplay must
always be allowed for. while we recognize the utility
of specific differentiations. Within limits the car-
dinal virtues may be said to be a scientifically ar-
ranged group, helpful to clearness of aim for a man
who is struggling after well-ordered conduct in a dis-
ordered world, which is not prudent, just, brave,
temperate.
Plato. Republic, Bk TV. 427-434; Idem, Lava, Bk. I. 631; Idem. Thetrtetns. 17HU: Ahistmti.k. l-.lhws, VI, .">: V. 1. III. Tan.l 10; Peter Lombard, Sent., Pt III, Hist, xxxiii, with the various commentators on the text; St. Thomas, Summa TheoL, 1 II ,Q hri; Wappelaert, Tradatue de Viriutibus Cardinalibus (Bruges, 1886)
John Rickaby.
Cardot, Alexander.
[C OP.
See Burma, Vicariate
Carducci, Bartolommeo and Vincenzo, both
known in Spain as Carducho, Florentine painters,
brothers, usually grouped under the Spanish School.
Of these two artists Bartolommeo, the elder (b. 1560;
d. 1608), after executing a few paintings in Florence,
only two of which are worthy of note — those repre-
senting the Immaculate Conception and the Nativity
in the Jesuit Church — accompanied Zuccaro to the
court of Philip II and assisted him in his paintings
in the Escorial. Here Bartolommeo worked in con-
junction with Tibaldi upon the decoration of the
library, the latter doing the ceiling and the former
the walls. He took with him, in 1585, his younger
brother, who was then at so tender an age that he
declares he "had very faint recollections of Italy and
spoke Castilian as his mother tongue". The elder
brother worked also as an architect and as a sculp-
tor, and executed a considerable amount of fresco
work in the Escorial for Philip II, notably the paint-
ing in the Cloister, and commenced to decorate a
gallery in the palace of the Pardo, for Philip III, with
taken from the life of Charles V. He died.
however, before he had made much progress in this
work. His most important production is his " De-
from the Cross", in the church of San Felipe
in Madrid.
Vincenzo was appointed court painter by Philip III. in 1609, and completed the work commenced by his brother, adopting the history of Achilles as his subject. He was also court painter to Philip IV. He did not live to finish his last picture, a St. Jerome,
which is inscribed "Vincencius Carducho hie vitam non opus finil 1638", and his death occurred while undei confinement, as he lost his reason early in 1638. He painted for the Carthusians at Paular fifty-four large pictures representing the life of St. Bruno: the National Museum of Madrid, to... and the churches and palaces of that city abound in his paintings. He
was also the author ol an excellent I I. on painting.
" Dial I nid was
responsible for obtaining in 1633 the remission of a tax on paintings which was a serious burden upon the
artists of his day. Four years later he secured the
total ahold ion of the tax. Be was also commissioned to decorate the Palace of Bucn Retiro, and executed
a series of historical frescoes which were practically
the first secular pictures seen in Castile.
Butron, Diseursos a pi'l'ui' liens , n que se defiende la ingenuv- dad del arte de la pintura (Madrid, 1626); CeXn Bkkmii.iv, Dieeiemarw histiirico de Ins mas duslres pmjesnres de las Bellas
Aries en Eepaila (Madrid, 1800); Baxdinucci, Notizie de
Profesori del diseiinn I I'lcr ence. Kiss); Cn\c\. lieseriziane adeparica delta Spmran (l'anii;,, I, a.:.. CossiO, /" pintura eepaflola (Madrid, 1886); Madrazo, Caldlogo descriptive: i kiet&rico de los cuadroe 'lei \fuseo del Prado (Madrid, 1872); Ori.andt, Abecedario Pittnrien (Naples, 1733); I'm beco, Arte de la pintura (Seville, 1 649) : Smith. Painting Spaniel and French (London, 1884); Hartley. Spanish I\i,nl,n,i (Lon- don, 1904); Zarco DEL VaI-LF. Dneumenfeis meditns para la /listeria de las Bellas Aries en Espaiia iMiolrid, 1870) ; STTR-
ltko, Annals of the Artists of Spain (London, 1848).
George Charles Williamson.
Carem (Sept., Kapip; Hebrew, D13, vine or vine-
yard), name of a town in the Tribe of Juda. The
name, at least in this form, occurs but once in the
Bible, viz. in Josue, xv, 59, and here only in the
Septuagint translation; il is therefore absent, to-
gether with some other names mentioned in the same
passage, from the Vulgate and from the English ver-
sions.
By some scholars Carem has been identified with the Bethaearem or Bethacharam mentioned in Jere- mias vi. 1, and II Esdras, iii, 14; but be that as it may, there is a general consensus of critical opinion to the effect that the ancient Carem occupied the site of the modern Win Karim, a flourishing village sit- uated about four miles west of Jerusalem. In favour of this identification is alleged, besides the substantial identity of the name, the fact that around 'Ain Karim are found other villages whose modern names corre- spond with considerable accuracy to the names men- tioned with Carem in the Greek text of Josue, xv, 59. It is probable that the remarkable fountain which springs up close to the village on the north took its present name, 'Ain Karim (Fountain of Karim). from the ancient Carem, which has been replaced by the modern town. The latter is a village of about 1000 inhabitants, more than half of whom are Mohamme- dans. It is located on a hill beyond the mountains that lie to the west of Jerusalem, and overlooks the beautiful valley of Colonieh, in which olives and fruit- trees flourish in great abundance. Towards the east- ern extremity of the village stands the church of the Nativity of John the Baptist, to which are attached a monastery and lodging-place for pilgrims. The present church and monastery were built by the Fran- ciscan friars who have been established in the place since 1690. The older sanctuary which occupied the same site had been abandoned after the Crusades and had fallen to ruin. Five hundred yards south of the church is the fountain of Carem ('Ain Karim), which is sometimes designated by the Christians as the Fountain of the Virgin. It flows from the side of a high mountain and is covered by a roofed structure with stone arches, which is a place of prayer for the Mussulmans. At a short distance from the fountain is another convent, erected by the Franciscans in 1892 on the ruins ,,f ■ ;,, ancient monastery.
'Ain Karim has acquired celebrity in the later Chris- tian tradition, not only of the Latin, but also of the Oriental Churches. From the twelfth century on- ward many writers affirm thai it is the "city of Juda" in the "hill country" whither, according to St. Luke (i, 39), the Virgin Mary went to visit her cousin Eliza- beth; consequently, the dwelling-place of Zachary, the birthplace oi John the Baptist. This identifica- tion is noted in certain manuscript copies of tin I pel in Arabic and Coptic, sometimes in the margin, mes iii 'he text, a fact which would seem to indicate a standing tradition in the Christian com- munities of EgJ pt aid \livs-irua. receive 1. doubtless. from their neighbours of Syria and Palestine. There has been, moreover, since the twelfth century, a fairly constant tradition, based chiefly on the relations of
