Part I

., which made compulsory a tax for the support of religious worship. In 1821 he delivered the Dudleian lecture on the "Evidences of Revealed Religion" at Harvard, of whose corporation he had been a member since 1813; he had received its degree of S.T.D. in 1820. In August 1821 he undertook a journey to Europe, in the course of which he met in England many distinguished men of letters, especially Wordsworth and Coleridge. Both of these poets greatly influenced him personally and by their writings, and he prophesied that the Lake poets would be one of the greatest forces in a forming spiritual reform. Coleridge wrote of him, "He has the love of wisdom and the wisdom of love."

On his return to America in August 1823, Dr Channing resumed his duties as pastor, but with a more decided attention than before to literature and public affairs, especially after receiving as colleague, in 1824, the Rev. Ezra Stiles Gannett. In 1830, because of his wife's bad health, Channing went to the West Indies. Negro slavery, as he saw it there, and as he had seen it in Richmond, more than thirty years before, so strongly impressed him that he began to write his book _Slavery_ (1835). In this he insists that "not what is profitable, but what is right" is "the first question to be proposed by a rational being"; that slavery ought to be discussed "with a deep feeling of responsibility, and so done as not to put in jeopardy the peace of the slave-holding states"; that "man cannot be justly held and used as property"; that the tendency of slavery is morally, intellectually, and domestically, bad; that emancipation, however, should not be forced on slave-holders by governmental interference, but by an enlightened public conscience in the South (and in the North), if for no other reason, because "slavery should be succeeded by a friendly relation between master and slave; and to produce this the latter must see in the former his benefactor and deliverer." He declined to identify himself with the Abolitionists, whose motto was "Immediate Emancipation" and whose passionate agitation he thought unsuited to the work they were attempting. The moderation and temperance of his presentation of the anti-slavery cause naturally resulted in some misunderstanding and misstatement of his position, such as is to be found in Mrs Chapman's _Appendix_ to the _Autobiography of Harriet Martineau_, where Channing is represented as actually using his influence on behalf of slavery. In 1837 he published _Thoughts on the Evils of a Spirit of Conquest, and on Slavery: A Letter on the Annexation of Texas to the United States_, addressed to Henry Clay, and arguing that the Texan revolt from Mexican rule was largely the work of land-speculators, and of those who resolved "to throw Texas open to slave-holders and slaves"; that the results of annexation must be war with Mexico, embroiling the United States with England and other European powers, and at home the extension and perpetuation of slavery, not alone in Texas but in other territories which the United States, once started at conquest, would force into the Union. But he still objected to political agitation by the Abolitionists, preferring "unremitting appeals to the reason and conscience," and, even after the prominent part he took in the meeting in Faneuil Hall, called to protest against the murder of Elijah P. Lovejoy, he wrote to _The Liberator_, counselling the Abolitionists to "disavow this resort to force by Mr Lovejoy." Channing's pamphlet _Emancipation_ (1840) dealt with the success of emancipation in the West Indies, as related in Joseph John Gurney's _Familiar Letters to Henry Clay of Kentucky, describing a Winter in the West Indies_ (1840), and added his own advice "that we should each of us bear our conscientious testimony against slavery," and that the Free States "abstain as rigidly from the use of political power against Slavery in the States where it is established, as from exercising it against Slavery in foreign communities," and should free themselves "from any obligation to use the powers of the national or state governments in any manner whatever for the support of slavery." In 1842 he published _The Duty of the Free States_, or _Remarks Suggested by the Case of the Creole_, a careful analysis of the letter of complaint from the American to the British government, and a defence of the position taken by the British government. On the 1st of August 1842 he delivered at Lenox, Massachusetts, an address celebrating the anniversary of emancipation in the British West Indies. Two months later, on the 2nd of October 1842, he died at Bennington, Vermont.

Physically Channing was short and slight; his eyes were unnaturally large; his voice wonderfully clear, and like his face, filled with devotional spirit. He was not a great pastor, and lacked social tact, so that there were not many people who became his near friends; but by the few who knew him well, he was almost worshipped. As a preacher Channing was often criticised for his failure to deal with the practical everyday duties of life. But his sermons are remarkable for their rare simplicity and gracefulness of style as well as for the thought that they express. The first open defence of Unitarians was not based on doctrinal differences but on the peculiar nature of the attack on them made in June 1815 by the conservatives in the columns of _The Panoplist_, where it was stated that Unitarians were "operating only in secret, ... guilty of hypocritical concealment of their sentiments." His chief objection to the doctrine of the Trinity (as stated in his sermon at the ordination of the Rev. Jared Sparks) was that it was no longer used philosophically, as showing God's relation to the triple nature of man, but that it had lapsed into mere Tritheism. To the name "Unitarian" Channing objected strongly, thinking "unity" as abstract a word as "trinity" and as little expressing the close fatherly relation of God to man. It is to be noted that he strongly objected to the growth of "Unitarian orthodoxy" and its increasing narrowness. His views as to the divinity of Jesus were based on phrases in the Gospels which to his mind established Christ's admission of inferiority to God the Father,--for example, "Knoweth no man, neither the Son, but the Father"; at the same time he regarded Christ as "the sinless and spotless son of God, distinguished from all men by that infinite peculiarity--freedom from moral evil." He believed in the pre-existence of Jesus, and that it differed from the pre-existence of other souls in that Jesus was actually conscious of such pre-existence, and he reckoned him one with God the Father in the sense of spiritual union (and not metaphysical mystery) in the same way that Jesus bade his disciples "Be ye one, even as I am one." Bunsen called him "the prophet in the United States for the presence of God in mankind." Channing believed in historic Christianity and in the story of the resurrection, "a fact which comes to me with a certainty I find in few ancient histories." He also believed in the miracles of the Gospels, but held that the Scriptures were not inspired, but merely records of inspiration, and so saw the possibility of error in the construction put upon miracles by the ignorant disciples. But in only a few instances did he refuse full credence of the plain gospel narrative of miracles. He held, however, that the miracles were facts and not "evidences" of Christianity, and he considered that belief in them followed and did not lead up to belief in Christianity. His character was absolutely averse from controversy of any sort, and in controversies into which he was forced he was free from any theological odium and continually displayed the greatest breadth and catholicity of view. The differences in New England churches he considered were largely verbal, and he said that "would Trinitarians tell us what they mean, their system would generally be found little else than a mystical form of the Unitarian doctrine."

His opposition to Calvinism was so great that even in 1812 he declared "existence a curse" if Calvinism be true. Possibly his boldest and most elaborate defence of Unitarianism was his sermon on _Unitarianism most favourable to Piety_, preached in 1826, criticizing as it did the doctrine of atonement by the sacrifice of an "infinite substitute"; and the Election Sermon of 1830 was his greatest plea for spiritual and intellectual freedom.

Channing's reputation as an author was probably based largely on his publication in _The Christian Examiner_ of _Remarks on the Character and Writings of John Milton_ (1826), _Remarks on the Life and Character of Napoleon Bonaparte_ (1827-1828), and an _Essay on the Character and Writings of Fenelon_ (1829). An _Essay on Self-Culture_ (1838) was an address introducing the Franklin Lectures delivered in Boston September 1838. Channing was an intimate friend of Horace Mann, and his views on the education of children are stated, by no less an authority than Elizabeth Palmer Peabody, to have anticipated those of Froebel. His _Complete Works_ have appeared in various editions (5 vols., Boston, 1841; 2 vols., London, 1865; 1 vol., New York, 1875).

Among members of his family may be mentioned his two nephews William Henry (1810-1884), son of his brother Francis Dana, and William Ellery, commonly known as Ellery (1818-1901), son of his brother Walter, a Boston physician (1786-1876). The former, whose daughter married Sir Edwin Arnold, the English poet, became a Unitarian pastor, for some time in America, and also in England, where he died; he was deeply interested in Christian Socialism, and was a constant writer, translating Jouffroy's _Ethics_ (1840), and assisting in editing the _Memoirs of Margaret Fuller_ (1852); and he wrote the biography of his uncle (see O.B. Frothingham's _Memoir_, 1886). Ellery Channing married Margaret Fuller's sister (1842), and besides critical essays and poems published an intimate sketch of Thoreau in 1873.

See the _Memoir_ by William Henry Channing (3 vols., London, 1848; republished in one volume, New York, 1880); Elizabeth Palmer Peabody, _Reminiscences of the Rev. William Ellery Channing, D.D_. (Boston, 1880), intimate but inexact; John White Chadwick, _William Ellery Channing, Minister of Religion_ (Boston, 1903); and William M. Salter, "Channing as a Social Reformer" (_Unitarian Review_, March 1888). (R. We.)

CHANSONS DE GESTE, the name given to the epic chronicles which take so prominent a place in the literature of France from the 11th to the 15th century. Gaston Paris defined a chanson de geste as a song the subject of which is a series of historical facts or _gesta_. These facts form the centre around which are grouped sets of poems, called cycles, and hence the two terms have in modern criticism become synonymous for the epic family to which the hero of the particular group or cycle belongs. The earliest chansons de geste were founded on the fusion of the Teutonic spirit, under a Roman form, into the new Christian and French civilization. It seems probable that as early as the 9th century epic poems began to be chanted by the itinerant minstrels who are known as jongleurs. It is conjectured that in a base Latin fragment of the 10th century we possess a translation of a poem on the siege of Girona. Gaston Paris dates from this lost epic the open expression of what he calls "the epic fermentation" of France. But the earliest existing chanson de geste is also by far the noblest and most famous, the _Chanson de Roland_; the conjectural date of the composition of this poem has been placed between the years 1066 and 1095. That the author, as has been supposed, was one of the conquerors of England, it is perhaps rash to assert, but undoubtedly the poem was composed before the First Crusade, and the writer lived at or near the sanctuary of Mont Saint-Michel. The _Chanson de Roland_ stands at the head of modern French literature, and its solidity and grandeur give a dignity to the whole class of poetry of which it is the earliest and by far the noblest example. But it is in the crowd of looser and later poems, less fully characterized, less steeped in the individuality of their authors, that we can best study the form of the typical chanson de geste. These epics sprang from the soil of France; they were national and historical; their anonymous writers composed them spontaneously, to a common model, with little regard to the artificial niceties of style. The earlier examples, which succeed the _Roland_, are unlike that great work in having no plan, no system of composition. They are improvisations which wander on at their own pace, whither accident may carry them. This mass of medieval literature is monotonous, primitive and superficial. As Leon Gautier has said, in the rudimentary psychology of the chansons de geste, man is either entirely good or entirely bad. There are no fine shades, no observation of character. The language in which these poems are composed is extremely simple, without elaboration, without ornament. Everything is sacrificed to the telling of a story by a narrator of little skill, who helps himself along by means of a picturesque, but almost childish fancy, and a primitive sentiment of rhythm. Two great merits, however, all the best of these poems possess, force and lucidity; and they celebrate, what they did much to create, that unselfish elevation of temper which we call the spirit of chivalry.

Perhaps the most important cycle of chansons de geste was that which was collected around the name of Charlemagne, and was known as the _Geste du roi_. A group of this cycle dealt with the history of the mother of the emperor, and with Charlemagne himself down to the coming of Roland. To this group belong _Bertha Greatfoot_ and _Aspremont_, both of the 12th century, and a variety of chansons dealing with the childhood of Charlemagne and of Ogier the Dane. A second group deals with the struggle of Charlemagne with his rebellious vassals. This is what has been defined as the Feudal Epic; it includes _Girars de Viane_ and _Ogier the Dane_, both of the 13th century, or the end of the 12th. A third group follows Charlemagne and his peers to the East. It is in the principal of these poems, _The Pilgrimage to Jerusalem_, that Alexandrine verse first makes its appearance in French literature. This must belong to the beginning of the 12th century. A fourth group, antecedent to the Spanish war, is of the end of the 12th century and the beginning of the 13th; it includes _Aiquin_, _Fierabras_ and _Otinel_. The fifth class discusses the war in Spain, and it is to this that _Roland_ belongs; there are different minor epics dealing with the events of Roncevaux, and independent chansons of _Gui de Bourgogne_, _Gaidon_ and _Anseis de Carthage_. The _Geste du Roi_ comprises a sixth and last group, proceeding with events up to the death of Charlemagne; this contains _Huon de Bordeaux_ and a vast number of poems of minor originality and importance.

Another cycle is that of Duke William Shortnose, _La Geste de Guillaume_. This includes the very early and interesting _Departure of the Aimeri Children_, _Aliscans_ and _Rainoart_. It is thought that this cycle, which used to be called the _Geste de Garin de Monglane_, is less artificial than the others; it deals with the heroes of the South who remained faithful in their vassalage to the throne. The poems belonging to this cycle are extremely numerous, and some of them are among the earliest which survive. These chansons find their direct opposites in those which form the great cycle of _La Geste de Doon de Mayence_, sometimes called "la faulse geste," because it deals with the feats of the traitors, of the rebellious family of Ganelon. This is the geste of the Northmen, always hostile to the Carlovingian dynasty. It comprises some of the most famous of the chansons, in particular _Parise la duchesse_ and _The Four Sons of Aymon_. Several of its sections are the production of a known poet, Raimbert of Paris. From this triple division of the main body of the chansons de geste into _La Geste du Roi_, _La Geste de Guillaume_ and _La Geste de Doon_, are excluded certain poems of minor importance,--some provincial, such as _Amis and Amiles_ and _Garin_, some dealing with the Crusades, such as _Antioche_, and some which are not connected with any existing cycle, such as _Ciperis de Vignevaux_; most of this last category, however, are works of the decadence.

The analysis which is here sketched is founded on the latest theories of Leon Gautier, who has given the labour of a lifetime to the investigation of this subject. The wealth of material is baffling to the ordinary student; of the medieval chansons de geste many hundreds of thousands of lines have been preserved. The habit of composing became in the 14th century, as has been said, no longer an art but a monomania. Needless to add that a very large proportion of the surviving poems have never yet been published. All the best of the early chansons de geste are written in ten-syllable verse, divided into stanzas or _laisses_ of different length, united by a single assonance. Rhyme came in with the 13th century, and had the effect in languid bards of weakening the narrative; the sing-song of it led at last to the abandonment of verse in favour of plain historical prose. The general character of the chansons de geste, especially of those of the 12th century, is hard, coarse, inflexible, like the march of rough men stiffened by coats of mail. There is no art and little grace, but a magnificent display of force. These poems enshrine the self-sufficiency of a young and powerful people; they are full of Gallic pride, they breathe the spirit of an indomitable warlike energy. All their figures belong to the same social order of things, and all illustrate the same fighting aristocracy. The moving principle is that of chivalry, and what is presented is, invariably, the spectacle of the processional life of a medieval soldier. The age described is a disturbed one; the feudal anarchy of Europe is united, for a moment, in defending western civilization against the inroads of Asia, against "the yellow peril." But it is a time of transition in Europe also, and Charlemagne, the immortal but enfeebled emperor, whose beard is whiter than lilies, represents an old order of things against which the rude barons of the North are perpetually in successful revolt. The loud cry of the dying Ronald, as E. Quinet said, rings through the whole poetical literature of medieval France; it is the voice of the individuality of the great vassal, who, in the decay of the empire, stands alone with himself and with his sword.

AUTHORITIES,--Leon Gautier, _Les Epopees francaises_ (4 vols., 1878-1894); Gaston Paris, _La Litterature francaise au moyen age_ (1890); Paul Meyer, _Recherches sur l'epopee francaise_ (1867); G. Paris, _Histoire poetique de Charlemagne_ (1865); A. Longnon, _Les Quatre Fits Aimon_, &c. (1879). (E. G.)

CHANT (derived through the Fr. from the Lat. _cantare_, to sing; an old form is "chaunt"), a song or melody, particularly one sung according to the rules of church service-books. For an account of the chant or _cantus firmus_ of the Roman Church see PLAIN-SONG. In the English church "chants" are the tunes set to the unmetrical verses of the psalms and canticles. The chant consisted of an "intonation" followed by a reciting note of indefinite length; a "mediation" closed the first part of the verse, leading to a second reciting note; a "termination" closed the second part of the verse. In the English chant the "intonation" disappeared. Chants are "single," if written for one verse only, "double," if for two. "Quadruple" chants for four verses have also been written.

CHANTABUN, or CHANTABURI, the principal town of the Siamese province of the same name, on the E. side of the Gulf of Siam, in 102 deg. 6' E., 12 deg. 38' N. Pop. about 5000. The town lies about 12 m. from the sea on a river which is navigable for boats and inside the bar of which there is good anchorage for light-draft vessels. The trade is chiefly in rubies and sapphires from the mines of the Krat and Pailin districts, and in pepper, of which about 500 tons are exported annually. Cardamoms and rosewood are also exported. In 1905 Chantabun was made the headquarters of a high commissioner with jurisdiction extending over the coast districts from the Nam Wen on the East to Cape Liant on the West, which were thus united to form a provincial division (_Monton_). In 1893 Chantabun was occupied by a French force of four hundred men, a step taken by France as a guarantee for the execution by Siam of undertakings entered into by the treaty of that year. The occupation, which was merely military and did not affect the civil government, lasted until January 1905, when, in accordance with the provisions of the Franco-Siamese treaty of 1904, the garrison of occupation was withdrawn. Chantabun has been since the 17th century, and still is, a stronghold of the Roman Catholic missionaries, and the Christian element amongst the population is greater here than anywhere else in Siam.

CHANTADA, a town of north-western Spain, in the province of Lugo, on the left bank of the Rio de Chantada, a small right-hand tributary of the river Mino, and on the main road from Orerse, 18 m. S. by W., to Lugo, 28 m. N. by E. Pop. (1900) 15,003. Chantada is the chief town of the fertile region between the Mino and the heights of El Faro, which mark the western border of the province. Despite the lack of railway communication, it has a thriving trade in grain, flax, hemp, and dairy produce.

CHANTAGE (a Fr. word from _chanter_, to sing, slang for a criminal making an avowal under examination), a demand for money backed by the threat of scandalous revelations, the French equivalent of "blackmail."

CHANTARELLE, an edible fungus, known botanically as _Cantharellus cibarius_, found in woods in summer. It is golden yellow, somewhat inversely conical in shape and about 2 in. broad and high. The cap is flattened above with a central depression and a thick lobed irregular margin. Running down into the stem from the cap are a number of shallow thick gills. The substance of the fungus is dry and opaque with a peculiar smell suggesting ripe apricots or plums. The flesh is whitish tinged with yellow. The chantarelle is sold in the markets on the continent of Europe, where it forms a regular article of food, but seems little known in Britain though often plentiful in the New Forest and elsewhere. Before being cooked they should be allowed to dry, and then thrown into boiling water. They may then be stewed in butter or oil, or cut up small and stewed with meat. No fungus requires more careful preparation.

See M.C. Cooke, _British Edible Fungi_, (1891), pp. 104-105.

CHANTAVOINE, HENRI (1850- ), French man of letters, was born at Montpellier on the 6th of August 1850, and was educated at the Ecole Normale Superieure. After teaching in the provinces he moved, in 1876, to the Lycee Charlemagne in Paris, and subsequently became professor of rhetoric at the Lycee Henri IV. and _maitre de conferences_ at the Ecole Normale at Sevres. He was associated with the _Nouvelle Revue_ from its foundation in 1879, and he joined the _Journal des debats_ in 1884. His poems include _Poemes sinceres_ (1877), _Satires contemporaines_ (1881), _Ad memoriam_ (1884), _Au fil des jours_ (1889).

CHANTILLY, a town of northern France, in the department of Oise, 25 m. N. of Paris on the Northern railway to St Quentin. Pop. (1906) 4632. It is finely situated to the north of the forest of Chantilly and on the left bank of the river Nonette, and is one of the favourite Parisian resorts. Its name was long associated with the manufacture, which has now to a great extent decayed, of lace and blonde; it is still more celebrated for its chateau and its park (laid out originally by A. Le Notre in the second half of the 17th century), and as the scene of the great annual races of the French Jockey Club. The chateau consists of the palace built from 1876 to 1885 and of an older portion adjoining it known as the chatelet. The old castle must have been in existence in the 13th century, and in the reign of Charles VI. the lordship belonged to Pierre d'Orgemont, chancellor of France. In 1484 it passed to the house of Montmorency, and in 1632 from that family to the house of Conde. Louis II., prince de Conde, surnamed the Great, was specially attached to the place, and did a great deal to enhance its beauty and splendour. Here he enjoyed the society of La Bruyere, Racine, Moliere, La Fontaine, Boileau, and other great men of his time; and here his steward Vatel killed himself in despair, because of a hitch in the preparations for the reception of Louis XIV. The stables close to the racecourse were built from 1719 to 1735 by Louis-Henri, duke of Bourbon. Of the two splendid mansions existing at that period known as the grand chateau and the chatelet, the former was destroyed about the time of the Revolution, but the latter, built for Anne de Montmorency by Jean Bullant, still remains as one of the finest specimens of Renaissance architecture in France. The chateau d'Enghien, facing the entrance to the grand chateau, was built in 1770 as a guest-house. On the death in 1830 of the duke of Bourbon, the last representative of the house of Conde, the estate passed into the hands of Henri, duc d'Aumale, fourth son of Louis Philippe. In 1852 the house of Orleans was declared incapable of possessing property in France, and Chantilly was accordingly sold by auction. Purchased by the English bankers, Coutts & Co., it passed back into the hands of the duc d'Aumale, in 1872. By him a magnificent palace, including a fine chapel in the Renaissance style, was erected on the foundations of the ancient grand chateau and in the style of the chatelet. It is quadrilateral in shape, consisting of four unequal sides flanked by towers and built round a courtyard. The whole group of buildings as well as the pleasure-ground behind them, known as the Parterre de la Voliere, is surrounded by fosses supplied with water from the Nonette. On the terrace in front of the chateau there is a bronze statue of the constable Anne de Montmorency. The duc d'Aumale installed in the chatelet a valuable library, specially rich in incunabula and 16th century editions of classic authors, and a collection of the paintings of the great masters, besides many other objects of art. By a public act in 1886 he gave the park and chateau with its superb collections to the Institute of France in trust for the nation, reserving to himself only a life interest; and when he died in 1897 the Institute acquired full possession.

CHANTREY, SIR FRANCIS LEGATT (1782-1841), English sculptor, was born on the 7th of April 1782 at Norton near Sheffield, where his father, a carpenter, cultivated a small farm. His father died when he was eight years of age; and his mother having married again, his profession was left to be chosen by his friends. In his sixteenth year he was on the point of being apprenticed to a grocer in Sheffield, when, having seen some wood-carving in a shop-window, he requested to be made a carver instead, and was accordingly placed with a Mr Ramsey, wood-carver in Sheffield. In this situation he became acquainted with Raphael Smith, a distinguished draftsman in crayon, who gave him lessons in painting; and Chantrey, eager to commence his course as an artist, procured the cancelling of his indentures, and went to try his fortune in Dublin and Edinburgh, and finally (1802) in London. Here he first obtained employment as an assistant wood-carver, but at the same time devoted himself to portrait-painting, bust-sculpture, and modelling in clay. He exhibited pictures at the Academy for some years from 1804, but from 1807 onwards devoted himself mainly to sculpture. The sculptor Nollekens showed particular zeal in recognizing his merits. In 1807 he married his cousin, Miss Wale, who had some property of her own. His first imaginative work in sculpture was the model of the head of Satan, which was exhibited at the Royal Academy in 1808. He afterwards executed for Greenwich hospital four colossal busts of the admirals Duncan, Howe, Vincent and Nelson; and so rapidly did his reputation spread that the next bust which he executed, that of Horne Tooke, procured him commissions to the extent of L12,000. From this period he was almost uninterruptedly engaged in professional labour. In 1819 he visited Italy, and became acquainted with the most distinguished sculptors of Florence and Rome. He was chosen an associate (1815) and afterwards a member (1818) of the Royal Academy, received the degree of M.A. from Cambridge, and that of D.C.L. from Oxford, and in 1835 was knighted. He died after an illness of only two hours' duration on the 25th of November 1841, having for some years suffered from disease of the heart, and was buried in a tomb constructed by himself in the church of his native village.

The works of Chantrey are extremely numerous. The principal are the statues of Washington in the State-house at Boston, U.S.A.; of George III. in the Guildhall, London; of George IV. at Brighton; of Pitt in Hanover Square, London; of James Watt in Westminster Abbey and in Glasgow; of Roscoe and Canning in Liverpool; of Dalton in Manchester; of Lord President Blair and Lord Melville in Edinburgh, &c. Of his equestrian statues the most famous are those of Sir Thomas Munro in Calcutta, and the duke of Wellington in front of the London Exchange. But the finest of Chantrey's works are his busts, and his delineations of children. The figures of two children asleep in each other's arms, which form a monumental design in Lichfield cathedral, have always been lauded for beauty, simplicity and grace. So is also the statue of the girlish Lady Louisa Russell, represented as standing on tiptoe and fondling a dove in her bosom. Both these works appear, in design, to have owed something to Stothard; for Chantrey knew his own scantiness of ideal invention or composition, and on system sought aid from others for such attempts. In busts, his leading excellence is facility--a ready unconstrained air of life, a prompt vivacity of ordinary expression. Allan Cunningham and Weekes were his chief assistants, and were indeed the active executants of many works that pass under Chantrey's name. Chantrey was a man of warm and genial temperament, and is said to have borne noticeable though commonplace resemblance to the usual portraits of Shakespeare.

_Chantrey Bequest._--By the will dated the 31st of December 1840, Chantrey (who had no children) left his whole residuary personal estate after the decease or on the second marriage of his widow (less certain specified annuities and bequests) in trust for the president and trustees of the Royal Academy (or in the event of the dissolution of the Royal Academy, to such society as might take its place), the income to be devoted to the encouragement of British fine art in painting and sculpture only, by "the purchase of works of fine art of the highest merit ... that can be obtained." The funds might be allowed to accumulate for not more than five years; works by British or foreign artists, dead or living, might be acquired, so long as such works were entirely executed within the shores of Great Britain, the artists having been in residence there during such execution and completion. The prices to be paid were to be "liberal," and no sympathy for an artist or his family was to influence the selection or the purchase of works, which were to be acquired solely on the ground of intrinsic merit. No commission or orders might be given: the works must be finished before purchase. Conditions were made as to the exhibition of the works, in the confident expectation that as the intention of the testator was to form and establish a "public collection of British Fine Art in Painting and Sculpture," the government or the country would provide a suitable gallery for their display; and an annual sum of L300 and L50 was to be paid to the president of the Royal Academy and the secretary respectively, for the discharge of their duties in carrying out the provisions of the will.

Lady Chantrey died in 1875, and two years later the fund became available for the purchase of paintings and sculptures. The capital sum available amounted to L105,000 in 3% Consols, which (since reduced to 2-1/2%) produces an available annual income varying from L2500 to L2100. Galleries in the Victoria and Albert Museum at South Kensington were at first adopted as the depository of the works acquired, until in 1898 the Royal Academy arranged with the treasury, on behalf of the government, for the transference of the collection to the National Gallery of British Art, which had been erected by Sir Henry Tate at Millbank. It was agreed that the "Tate Gallery" should be its future home, and that "no power of selection or elimination is claimed on behalf of the trustees and director of the National Gallery" (Treasury Letter, 18054-98, 7th December 1898) in respect of the pictures and sculptures which were then to be handed over and which should, from time to time, be sent to augment the collection. Inasmuch as it was felt that the provision that all works must be complete to be eligible for purchase militated against the most advantageous disposition of the fund in respect of sculpture, in the case of wax models or plaster casts before being converted into marble or bronze, it was sought in the action of _Sir F. Leighton_ v. _Hughes_ (tried by Mr Justice North, judgment May 7th, 1888, and in the court of appeal, before the master of the rolls, Lord Justice Cotton, and Lord Justice Fry, judgment June 4th, 1889--the master of the rolls dissenting) to allow of sculptors being commissioned to complete in bronze or marble a work executed in wax or plaster, such "completion" being more or less a mechanical process. The attempt, however, was abortive.

A growing discontent with the interpretation put by the Royal Academy upon the terms of the will as shown in the works acquired began to find expression more than usually forcible and lively in the press during the year 1903, and a debate raised in the House of Lords by the earl of Lytton led to the appointment of a select committee of the House of Lords, which sat from June to August 1904. The committee consisted of the earls of Carlisle, Lytton, and Crewe, and Lords Windsor, Ribblesdale, Newton, and Killanin, and the witnesses represented the Royal Academy and representative art institutions and art critics. The report (ordered to be printed on the 8th of August 1904) made certain recommendations with a view to the prevention of certain former errors of administration held to have been sustained, but dismissed other charges against the Academy. In reply thereto a memorandum was issued by the Royal Academy (February 1905, ordered to be printed on the 7th of August 1905--Paper 166) disagreeing with certain recommendations, but allowing others, either intact or in a modified form.

Up to 1905 inclusive 203 works had been bought--all except two from living painters--at a cost of nearly L68,000. Of these, 175 were in oil-colours, 12 in water-colours, and 16 sculptures (10 in bronze and 6 marble).

See _The Administration of the Chantrey Bequest_, by D.S. MacColl (l6mo, London, 1904), a highly controversial publication by the leading assailant of the Royal Academy: _Chantrey and His Bequest_, by Arthur Fish, a complete illustrated record of the purchases, &c. (London, 1904); _The Royal Academy, its Uses and Abuses_, by H.J. Laidlay (London, 1898), controversial; _Report from the Select Committee of the House of Lords on the Chantrey Trust; together with the Proceedings of the Committee, Minutes of Evidence and Appendix_ (Wyman & Sons, 1904), and _Index_ (separate publication, 1904).

CHANT ROYAL, one of the fixed forms of verse invented by the ingenuity of the poets of medieval France. It is composed of five strophes, identical in arrangement, of eleven verses each, and of an envoi of five verses. All the strophes are written on the five rhymes exhibited in the first strophe, the entire poem, therefore, consisting of sixty lines in the course of which five rhymes are repeated. It has been conjectured that the chant royal is an extended ballade, or rather a ballade conceived upon a larger scale; but which form preceded the other appears to be uncertain. On this point Henri de Croi, who wrote about these forms of verse in his _Art et science de rhetorique_ (1493), throws no light. He dwells, however, on the great dignity of what he calls the "Champt Royal," and says that those who defy with success the ardour of its rules deserve crowns and garlands for their pains. Etienne Pasquier (1529-1615) points out the fact that the Chant Royal, by its length and the rigidity of its structure, is better fitted than the ballade for solemn and pompous themes. In Old French, the most admired chants royal are those of Clement Marot; his _Chant royal chrestien_, with its refrain

"Sante au corps, et Paradis a l'ame,"

was celebrated. Theodore de Banville defines the chant royal as essentially belonging to ages of faith, when its subjects could be either the exploits of a hero of royal race or the processional splendours of religion. La Fontaine was the latest of the French poets to attempt the chant royal, until it was resuscitated in modern times.

This species of poem was unknown in English medieval literature and was only introduced into Great Britain in the last quarter of the 19th century. The earliest chant royal in English was that published by Edmund Gosse in 1877; it is here given to exemplify the structure and rhyme-arrangement of the form:--

THE PRAISE OF DIONYSUS

"Behold, above the mountains there is light, A streak of gold, a line of gathering fire, And the dim East hath suddenly grown bright With pale aerial flame, that drives up higher The lurid mists which all the night long were Breasting the dark ravines and coverts bare; Behold, behold! the granite gates unclose, And down the vales a lyric people flows, Who dance to music, and in dancing fling Their frantic robes to every wind that blows, _And deathless praises to the Vine-God sing._

Nearer they press, and nearer still in sight, Still dancing blithely in a seemly choir; Tossing on high the symbol of their rite, The cone-tipp'd thyrsus of a god's desire; Nearer they come, tall damsels flushed and fair, With ivy circling their abundant hair, Onward, with even pace, in stately rows, With eye that flashes, and with cheek that glows, And all the while their tribute-songs they bring, And newer glories of the past disclose _And deathless praises to the Vine-God sing._

The pure luxuriance of their limbs is white, And flashes clearer as they draw the nigher, Bathed in an air of infinite delight, Smooth without wound of thorn, or fleck of mire, Borne up by song as by a trumpet's blare, Leading the van to conquest, on they fare, Fearless and bold, whoever comes or goes, These shining cohorts of Bacchantes close, Shouting and shouting till the mountains ring, And forests grim forget their ancient woes, _And deathless praises to the Vine-God sing._

And youths there are for whom full many a night Brought dreams of bliss, vague dreams that haunt and tire Who rose in their own ecstasy bedight, And wandered forth through many a scourging briar, And waited shivering in the icy air, And wrapped the leopard-skin about them there, Knowing for all the bitter air that froze, The time must come, that every poet knows, When he shall rise and feel himself a king, And follow, follow where the ivy grows, _And deathless praises to the Vine-God sing._

But oh! within the heart of this great flight, Whose ivory arms hold up the golden lyre? What form is this of more than mortal height? What matchless beauty, what inspired ire? The brindled panthers know the prize they bear, And harmonize their steps with tender care; Bent to the morning, like a living rose, The immortal splendour of his face he shows; And, where he glances, leaf and flower and wing Tremble with rapture, stirred in their repose, _And deathless praises to the Vine-God sing._

_Envoi_.

Prince of the flute and ivy, all thy foes Record the bounty that thy grace bestows, But we, thy servants, to thy glory cling, And with no frigid lips our songs compose, _And deathless praises to the Vine-God sing._"

In the middle ages the chant royal was largely used for the praise of the Virgin Mary. Eustache Deschamps (1340-1410) distinguishes these Marian chants royaux, which were called "serventois," by the absence of an envoi. These poems are first mentioned by Rutebeuf, a _trouvere_ of the 13th century. The chant royal is practically unknown outside French and English literature. (E. G.)

CHANTRY (Fr. _chanterie_, from _chanter_, to sing; Med. Lat. _cantuaria_), a small chapel built out from a church, endowed in pre-Reformation times for the express purpose of maintaining priests for the chanting of masses for the soul of the founder or of some one named by him. It generally contained the tomb of the founder, and, as the officiator or mass-priest was often unconnected with the parochial clergy, had an entrance from the outside. The word passed through graduations of meaning. Its first sense was singing or chanting. Then it meant the endowment funds, next the priests, and then the church or chapel itself.

CHANUTE, a city of Neosho county, Kansas, U.S.A., 1 m. from the Neosho river, and about 120 m. S.S.W. of Kansas city. Pop. (1890) 2826; (1900) 4208, of whom 210 were foreign-born and 171 were negroes; (1910 census) 9272. Chanute is served by the Atchison, Topeka & Santa Fe and the Missouri, Kansas & Texas railways, the former having large repair shops. The city is in the Kansas-Oklahoma oil and gas field, and is surrounded by a fine farming and dairying region, in which special attention is given to the raising of small fruit; oil, gas, cement rock and brick shale are found in the vicinity. Among the city's manufactures are refined oil, Portland cement, vitrified brick and tile, glass, asphalt, ice, cigars, drilling machinery, and flour. The municipality owns and operates the waterworks, a natural gas plant, and an electric lighting plant. Four towns--New Chicago, Tioga, Chicago Junction and Alliance--were started here about the same time (1870). In 1872 they were consolidated, and the present name was adopted in honour of Octave Chanute (b. 1832), the civil engineer and aeronautist (see FLIGHT AND FLYING), then the engineer of the Lawrence, Leavenworth & Galveston railway (now part of the Atchison system). Chanute was incorporated as a city of the third class in 1873, and its charter was revised in 1888. Natural gas and oil were found here in 1899, and Chanute became one of the leaders of the Kansas independent refineries in their contest with the Standard Oil Company.

CHANZY, ANTOINE EUGENE ALFRED (1823-1883), French general, was born at Nouart (Ardennes) on the 18th of March 1823. The son of a cavalry officer, he was educated at the naval school at Brest, but enlisted in the artillery, and, subsequently passing through St Cyr, was commissioned in the Zouaves in 1843. He saw a good deal of fighting in Algeria, and was promoted lieutenant in 1848, and captain in 1851. He became _chef de bataillon_ in 1856, and served in the Lombardy campaign of 1859, being present at Magenta and Solferino. He took part in the Syrian campaign of 1860-61 as a lieutenant-colonel; and as colonel commanded the 48th regiment at Rome in 1864. He returned to Algeria as general of brigade, assisted to quell the Arab insurrection, and commanded the subdivisions of Bel Abbes and Tlemcen in 1868. Although he had acquired a good professional reputation, he was in bad odour at the war office on account of suspected contributions to the press, and at the outbreak of the Franco-German War he was curtly refused a brigade command. After the revolution, however, the government of national defence called him from Algeria, made him a general of division, and gave him command of the XVI. corps of the army of the Loire. (For the operations of the Orleans campaign which followed, see FRANCO-GERMAN WAR.) The Loire army won the greatest success of the French during the whole war at Coulmiers, and followed this up with another victorious

## action at Patay; in both engagements General Chanzy's corps took the

most brilliant part. After the second battle of Orleans and the separation of the two wings of the French army, Chanzy was appointed to command that in the west, designated the second army of the Loire. His enemies, the grand duke of Mecklenburg, Prince Frederick Charles, and General von der Tann, all regarded Chanzy as their most formidable opponent. He displayed conspicuous moral courage and constancy, not less than technical skill, in the fighting from Beaugency to the Loire, in his retreat to Le Mans, and in retiring to Laval behind the Mayenne. As Gambetta was the soul, Chanzy was the strong right arm of French resistance to the invader. He was made a grand officer of the Legion of Honour, and was elected to the National Assembly. At the outbreak of the Commune, Chanzy, then at Paris, fell into the hands of the insurgents, by whom he was forced to give his parole not to serve against them. It was said that he would otherwise have been appointed instead of MacMahon to command the army of Versailles. A ransom of L40,000 was also paid by the government for him. In 1872 he became a member of the committee of defence and commander of the VII. army corps, and in 1873 was appointed governor of Algeria, where he remained for six years. In 1875 he was elected a life senator, in 1878 received the grand cross of the Legion of Honour, and in 1879, without his consent, was nominated for the presidency of the republic, receiving a third of the total votes. For two years he was ambassador at St Petersburg, during which time he received many tokens of respect, not only from the Russians, but also from the German emperor, William I., and Prince Bismarck. He died suddenly, while commanding the VI. army corps (stationed nearest to the German frontier), at Chalons-sur-Marne, on the 4th of January 1883, only a few days after Gambetta, and his remains received a state funeral. He was the author of _La Deuxieme Armee de la Loire_ (1872). Statues of General Chanzy have been erected at Nouart and Le Mans.

CHAOS, in the Hesiodic theogony, the infinite empty space, which existed before all things (_Theog._ 116, 123). It is not, however, a mere abstraction, being filled with clouds and darkness; from it proceed Erebus and Nyx (Night), whose children are Aether (upper air) and Hemera (Day). In the Orphic cosmogony the origin of all goes back to Chronos, the personification of time, who produces Aether and Chaos. In the Aristophanic parody (_Birds_, 691) the winged Eros in conjunction with gloomy Chaos brings forth the race of birds. The later Roman conception (Ovid, _Metam._ i. 7) makes Chaos the original undigested, amorphous mass, into which the architect of the world introduces order and harmony, and from which individual forms are created. In the created world (cosmos, order of the universe) the word has various meanings:--the universe; the space between heaven and earth; the under-world and its ruler. Metaphorically it is used for the immeasurable darkness, eternity, and the infinite generally. In modern usage "chaos" denotes a state of disorder and confusion.

CHAPBOOK (from the O. Eng. _chap_, to buy and sell), the comparatively modern name applied by booksellers and bibliophiles to the little stitched tracts written for the common people and formerly circulated in England, Scotland and the American colonies by itinerant dealers or chapmen, consisting chiefly of vulgarized versions of popular stories, such as _Tom Thumb_, _Jack the Giant Killer_, _Mother Shipton_, and _Reynard the Fox_--travels, biographies and religious treatises. Few of the older chapbooks exist. Samuel Pepys collected some of the best and had them bound into small quarto volumes, which he called Vulgaria; also four volumes of a smaller size, which he lettered _Penny Witticisms, Penny Merriments, Penny Compliments_ and _Penny Godlinesses_. The early chapbooks were the direct descendants of the black-letter tracts of Wynkyn de Worde. It was in France that the printing-press first began to supply reading for the common people. At the end of the 15th century there was a large popular literature of farces, tales in verse and prose, satires, almanacs, &c., stitched together so as to contain a few leaves, and circulated by itinerant booksellers, known as colporteurs. Most early English chapbooks are adaptations or translations of these French originals, and were introduced into England early in the 16th century. The chapbooks of the 17th century present us with valuable illustrations of the manners of the time; one of the best known is that containing the story of Dick Whittington. Others which had a great vogue are _Jack the Giant Killer, Little Red Riding Hood_, and _Mother Shipton_. Those of the 18th century are far inferior in every way, both as regards the literature and the printing; and unfortunately it is these which form the bulk of what is now known to us in collections as chapbooks. They have never exercised any great influence in England nor received much attention, owing no doubt to their poor literary character. In France, on the other hand, their French equivalents have been the object of close and systematic study, and _L'Histoire des livres populaires ou de la litterature du colportage_ by Charles Nisard (1854) goes deeply into the subject. Amongst English books may be mentioned _Notices of Fugitive Tracts and Chapbooks_, by J.O. Halliwell-Phillipps (1849); _Chapbooks of the 18th Century_, by John Ashton (1882), and some reprints by the Villon Society in 1885. The word "chapbook" has not been noticed earlier than 1824, when Dibdin, the celebrated bibliographer, described a work as being "a chapbook, printed in rather a neat black-letter."

CHAPE (from the Fr. _chape_, a hood, cope or sheath), a cover or metal plate, such as the cap upon the needle in the compass, also the transverse guard of a sword which protects the hand. From the original meaning comes the use of the word as a support or catch to attach one thing to another, as the hook on a belt to which the sword is fastened. The word is also used for the tip of a fox's brush.

CHAPEL, a place of religious worship,[1] a name properly applied to that of a Christian religious body, but sometimes to any small temple of pagan worship (Lat. _sacellum_). The word is derived through the O. Fr. _chapele_, modern _chapelle_, from the Late Lat. _capelle_ or _cappella_, diminutive of _cappa_, a cape, particularly that of a monk. This word was transferred to any sanctuary containing relics, in the early history of the Frankish Church, because the cloak of St Martin, _cappa brevior Sancti Martini_, one of the most sacred relics of the Frankish kings, was carried in a sanctuary or shrine wherever the king went; and oaths were taken on it (see Ducange, _Glossarium_, s.v. _Capella_). Such a sanctuary was served by a priest, who was hence called _capellanus_, from which is derived the English "chaplain" (q.v.). The strict application of the word to a sanctuary containing relics was extended to embrace any place of worship other than a church, and it was synonymous, therefore, with "oratory" (_oratorium_), especially one attached to a palace or to a private dwelling-house. The celebrated Sainte Chapelle in Paris, attached to what is now the Palais de Justice, well illustrates the early and proper meaning of the word. It was built (consecration, 1248) by St Louis of France to contain the relic of the Crown of Thorns, ransomed by the king from the Venetians, who held it in pawn from the Latin emperor of the East, John of Brienne, lately dead. The chapel served as the sanctuary of the relic lodged in the upper chapel, and the whole building was attached as the place of worship to the king's palace. This, the primary meaning, survives in the chapels usually placed in the aisles of cathedrals and large churches. They were originally built either to contain relics of a particular saint to whom they were dedicated, or the tomb of a particular family.

In the Church of England the word is applied to a private place of worship, attached either to the palaces of the sovereign, "chapels royal," or to the residence of a private person, to a college, school, prison, workhouse, &c. Further, the word has particular legal applications, though in each case the building might be and often is styled a church. These are places of worship supplementary to a parish church, and may be either "chapels of ease," to ease or relieve the mother-church and serve those parishioners who may live far away, "parochial chapels," the "churches" of ancient divisions of a very large and widely scattered parish, or "district chapels," those of a district of a parish divided under the various church building acts. A "free chapel" is one founded by the king and by his authority, and visited by him and not by the bishop. A "proprietary chapel" is one that belongs to a private person. They are anomalies to the English ecclesiastical law, have no parish rights, and can be converted to other than religious purposes, but a clergyman may be licensed to perform duty in such a place of worship. In the early and middle part of the 19th century such proprietary chapels were common, but they have practically ceased to exist. "Chapel" was early and still is in England the general name of places of worship other than those of the established Church, but the application of "church" to all places of worship without distinction of sect is becoming more and more common. The word "chapel" was in this restricted sense first applied to places of worship belonging to the Roman Church in England, and was thus restricted to those attached to foreign embassies, or to those of the consorts of Charles I. and II. and James II., who were members of that church. The word is still frequently the general term for Roman Catholic churches in Great Britain and always so in Ireland. The use of "chapel" as a common term for all Nonconformist places of worship was general through most of the 19th century, so that "church and chapel" was the usual phrase to mark the distinction between members of the established Church and those of Nonconformist bodies. Here the widened use of "church" noticed above has been especially marked. Most of the recent buildings for worship erected by Nonconformist bodies will be found to be styled Wesleyan, Congregational, &c., churches. It would appear that while the word "chapel" was not infrequent in the early history of Nonconformity, "meeting-house" was the more usual term.

From the architectural point of view the addition of chapels to a cathedral or large church assumes some historical importance in consequence of the changes it involved in the plan. It was the introduction of the apsidal chapels in the churches of France which eventually led to the _chevet_ or cluster of eastern chapels in many of the great cathedrals, and also sometimes to the extension of the transept so as to include additional apsidal chapels on the east side. In France, and to a certain extent in Italy, the multiplication of chapels led to their being placed on the north and south side of the aisles, and in some cases, as at Albi in France, to the suppression of the aisles and the instalment of the chapels in their place. The chapels of the colleges at Oxford and Cambridge are sometimes of large dimensions and architecturally of great importance, that of Christ Church being actually the cathedral of Oxford; among others may be mentioned the chapel of Merton College, and the new chapel of Exeter College, both in Oxford, and the chapel of King's College, Cambridge, which is roofed over with perhaps the finest fan-vault in England. (See VAULT, Plate II., fig. 19.)

FOOTNOTE:

[1] The only other English sense is that of a printer's workshop, or the body of compositors in it, who are presided over by a "father of the chapel."

CHAPELAIN, JEAN (1595-1674), French poet and man of letters, the son of a notary, was born in Paris on the 4th of December 1595. His father destined him for his own profession; but his mother, who had known Ronsard, had determined otherwise. At an early age Chapelain began to qualify himself for literature, learning, under Nicolas Bourbon, Greek and Latin, and teaching himself Italian and Spanish. Having finished his studies, he was engaged for a while in teaching Spanish to a young nobleman. He was then appointed tutor to the two sons of a M. de la Trousse, grand provost of France. Attached for the next seventeen years to the family of this gentleman, the administration of whose fortune was wholly in his hands, he seems to have published nothing during this period, yet to have acquired a great reputation as a probability. His first work given to the public was a preface for the _Adone_ of Marini, who printed and published that notorious poem at Paris. This was followed by an excellent translation of Mateo Aleman's novel, _Guzman de Alfarache_, and by four extremely indifferent odes, one of them addressed to Richelieu. The credit of introducing the law of the dramatic unities into French literature has been claimed for many writers, and especially for the Abbe d'Aubignac, whose _Pratique du theatre_ appeared in 1657. The theory had of course been enunciated in the _Art poetique_ of J.C. Scaliger in 1561, and subsequently by other writers, but there is no doubt that it was the action of Chapelain that transferred it from the region of theory to that of actual practice. In a conversation with Richelieu in about 1632, reported by the abbe d'Olivet, Chapelain maintained that it was indispensable to maintain the unities of time, place and action, and it is explicitly stated that the doctrine was new to the cardinal and to the poets who were in his pay. French classical drama thus owes the riveting of its fetters to Chapelain. Rewarded with a pension of a thousand crowns, and from the first an active member of the newly-constituted Academy, Chapelain drew up the plan of the grammar and dictionary the compilation of which was to be a principal function of the young institution, and at Richelieu's command drew up the _Sentiments de l'Academie sur le Cid_. In 1656 he published, in a magnificent form, the first twelve cantos of his celebrated epic _La Pucelle_,[1] on which he had been engaged during twenty years. Six editions of the poem were disposed of in eighteen months. But this was the end of the poetic reputation of Chapelain, "the legist of Parnassus". Later the slashing satire of Boileau (in this case fairly master of his subject) did its work, and Chapelain ("_Le plus grand poete Francais qu' ait jamais ete et du plus solide jugement_," as he is called in Colbert's list) took his place among the failures of modern art.

Chapelain's reputation as a critic survived this catastrophe, and in 1663 he was employed by Colbert to draw up an account of contemporary men of letters, destined to guide the king in his distribution of pensions. In this pamphlet, as in his letters, he shows to far greater advantage than in his unfortunate epic. His prose is incomparably better than his verse; his criticisms are remarkable for their justice and generosity; his erudition and kindliness of heart are everywhere apparent; the royal attention is directed alike towards the author's firmest friends and bitterest enemies. To him young Racine was indebted not only for kindly and seasonable counsel, but also for that pension of six hundred livres which was so useful to him. The catholicity of his taste is shown by his _De la lecture des vieux romans_ (pr. 1870), in which he praises the _chansons de geste_, forgotten by his generation. Chapelain refused many honours, and his disinterestedness in this and other cases makes it necessary to receive with caution the stories of Menage and Tallemant des Reaux, who assert that he was in his old age a miser, and that a considerable fortune was found hoarded in his apartments when he died on the 22nd of February 1674.

There is a very favourable estimate of Chapelain's merits as a critic in George Saintsbury's _History of Criticism_, ii. 256-261. An analysis of _La Pucelle_ is given in pp. 23-79 of Robert Southey's _Joan of Arc_. See also _Les Lettres de Jean Chapelain_ (ed. P. Tanuzey de Larroque, 1880-1882); _Lettres inedites ... a P.D. Huet_ (1658-1673, ed. by L.G. Pellissier, 1894); Julien Duchesne, _Les Poemes epiques du XVIIe siecle_ (1870); the abbe A. Fabre, _Les Ennemis de Chapelain_ (1888), _Chapelain et nos deux premieres Academies_ (1890); and A. Muehlan,_ Jean Chapelain_ (1893).

FOOTNOTE:

[1] The last twelve cantos of _La Pucelle_ were edited (1882) from the MS. with corrections and a preface in the author's autograph, in the _Bibliotheque Nationale_, by H. Herluison. Another edition, by E. de Molenes (2 vols.), was published in 1892.

CHAPEL-EN-LE-FRITH, a market town in the High Peak parliamentary division of Derbyshire, England, 20 m. S.E. of Manchester, on the London & North-Western and Midland railways. Pop. (1901) 4626. It lies in an upland valley of the Peak district, the hills of which rise above 1200 ft. in its immediate vicinity. There are paper-works and ironworks, and brewing is carried on. The foundation of the church of St Thomas of Canterbury is attributed to the foresters of the royal forest or frith of the Peak early in the 13th century; and from this the town took name. After the defeat of the Scottish forces at Preston by Cromwell in 1648, it is said that 1500 prisoners were confined in the church at Chapel-en-le-Frith.

CHAPEL HILL, a town of Orange county, North Carolina, U.S.A., about 28 m. N.W. of Raleigh. Pop. (1900) 1099; (1910) 1149. It is served by a branch of the Southern railway, connecting at University, 10 m. distant, with the Greensboro & Goldsboro division. The town is best known as the seat of the University of North Carolina (see NORTH CAROLINA), whose campus contains 48 acres. There are cotton and knitting mills and lumber interests of some importance. Chapel Hill was settled late in the 18th century, and was first incorporated in 1851.

CHAPELLE ARDENTE (Fr. "burning chapel"), the chapel or room in which the corpse of a sovereign or other exalted personage lies in state pending the funeral service. The name is in allusion to the many candles which arc lighted round the catafalque. This custom is first chronicled as occurring at the obsequies of Dagobert I. (602-638).

CHAPERON, originally a cap or hood (Fr. _chape_) worn by nobles and knights of the Garter in full dress, and after the 16th century by middle-aged ladies. The modern use of the word is of a married or elderly lady (cf. "duenna") escorting or protecting a young and unmarried girl in public places and in society.

CHAPLAIN, strictly one who conducts service in a chapel (q.v.), i.e. a priest or minister without parochial charge who is attached for special duties to a sovereign or his representatives (ambassadors, judges, &c.), to bishops, to the establishments of nobles, &c., to institutions (e.g. parliament, congress, colleges, schools, workhouses, cemeteries), or to the army and the navy. In some cases a parish priest is also appointed to a chaplaincy, but in so far as he is a chaplain he has no parochial duties. Thus a bishop of the English Church appoints examining chaplains who conduct the examination of candidates for holy orders; such officials generally hold ordinary benefices also. The British sovereign has 36 "Chaplains in Ordinary," who perform service at St James's in rotation, as well as "Honorary Chaplains" and "Chaplains of the Household." There are also royal chaplains in Scotland and Ireland. The Scottish chaplains in ordinary are on the same basis as those in England, but the Irish chaplains are attached to the household of the lord-lieutenant. The Indian civil service appoints a number of clergymen of the Church of England and the Church of Scotland. These clergymen are known as Chaplains, and are subject to the same conditions as other civil servants, being eligible for a retiring pension after 23 years of service. Chaplains are also appointed under the foreign office to embassies, legations, consulates, &c.

Workhouse chaplains are appointed by overseers and guardians on the direction of the Local Government Board, to which alone such chaplains are responsible. Prison chaplains are appointed by the home secretary.

In the British army there are two kinds of chaplains, permanent and occasional. The former, described as Chaplains to the Forces, hold commissions, serving throughout the empire except in India: they include a Chaplain-General who ranks as a major-general, and four classes of subordinate chaplains who rank respectively as colonels, lieutenant-colonels, majors and captains. There are about 100 in all. Special chaplains (Acting Chaplains for Temporary Service) may be appointed by a secretary of state under the Army Chaplains Act of 1868 to perform religious service for the army in particular districts. The permanent chaplains may be Church of England, Roman Catholic, or Presbyterian; Wesleyans (if they prefer not to accept commissions) may be appointed Acting Chaplains. The Church of England chaplains report to the chaplain-general, while other chaplains report to the War Office direct. In the navy, chaplains are likewise appointed but do not hold official rank. They must have a special ecclesiastical licence from the archbishop of Canterbury. In 1900 a Chaplains' Department of the Territorial Force was formed; there is no denominational restriction.

In the armies and navies of all Christian countries chaplains are officially appointed, with the single exception of France, where the office was abolished on the separation of Church and State. In the army of the United States of America chaplains are originally appointed by the president, and subsequently are under the authority of the secretary of war, who receives recommendations as regards transfer from department commanders. By act of Congress, approved in April 1904, the establishment of chaplains was fixed at 57 (15 with the rank of major), 12 for the artillery corps and 1 each for the cavalry and infantry regiments. There is no distinction of sect. In the U.S. navy the chaplains are 24 in number, of whom 13 rank as lieutenants, 7 as commanders, 4 as captains.

In the armies of Roman Catholic countries there are elaborate regulations. Where the chaplains are numerous a chaplain-major is generally appointed, but in the absence of special sanction from the pope such officer has no spiritual jurisdiction. Moreover, chaplains must be approved by the ordinary of the locality. In Austria there are Roman Catholic, Greek Church, Jewish and Mahommedan chaplains. The Roman Catholic chaplains are classed as parish priests, curates and assistants, and are subject to an army Vicar Apostolic. In war, at an army headquarters there are a "field-rabbi," a "military imam," an evangelical minister, as well as the Roman Catholic hierarchy. By a decree of the Sacred Congregation of Propaganda (May 15, 1906), the archbishop of Westminster is the ecclesiastical superior of all commissioned Roman Catholic chaplains in the British army and navy, and he is empowered to negotiate with the civil authorities concerning appointments.

In Germany, owing to the fact that there are different religions in the different states, there is no uniform system. In Prussia there are two _Feldprobste_ (who are directly under the war minister), one Lutheran, one Roman Catholic. The latter is a titular bishop, and has sole spiritual authority over soldiers. There are also army corps and divisional chaplains of both faiths. Bavaria and Saxony, both Roman Catholic states, have no special spiritual hierarchy; in Bavaria, the archbishop of Munich and Freysing is _ex officio_ bishop of the army.

The origin of the office of _capellanus_ or _cappellanus_ in the medieval church is generally traced (see Du Cange, _Gloss, med. et infim. Latin_.) to the appointment of persons to watch over the sacred cloak (_cappa_ or _capella_) of St Martin of Tours, which was preserved as a relic by the French monarchs. In time of war this cloak was carried with the army in the field, and was kept in a tent which itself came to be known as a _cappella_ or _capella_. It is also suggested that the _capella_ was simply the tent or canopy which the French kings erected over the altar in the field for the worship of the soldiers. However this may be, the name _capellanus_ was generally applied to those who were in charge of sacred relics: such officials were also known as _custodes, martyrarii, cubicularii_. Thus we hear of a _custos palatinae capellae_ who was in charge of the palace chapel relics, and guarded them in the field; the chief of these _custodes_ was sometimes called the _archicapellanus_. From the care of sacred relics preserved in royal chapels, &c. (_sacella_ or _capellae_), the office of _capellanus_ naturally extended its scope until it covered practically that of the modern court chaplain, and was officially recognized by the Church. These clerics became the confessors in royal and noble houses, and were generally chosen from among bishops and other high dignitaries. The arch-chaplain not only received jurisdiction within the royal household, but represented the authority of the monarch in religious matters, and also acquired more general powers. In France the arch-chaplain was grand-almoner, and both in France and in the Holy Roman Empire was also high chancellor of the realm. The office was abolished in France at the Revolution in 1789, revived by Pius IX. in 1857, and again abolished on the fall of the Second Empire.

The Roman Catholic Church also recognizes a class of beneficed chaplains, supported out of "pious foundations" for the specific duty of saying, or arranging for, certain masses, or taking part in certain services. These chaplains are classified as follows:--_Ecclesiastical_, if the foundation has been recognized officially as a benefice; _Lay_, if this recognition has not been obtained; _Mercenary_, if the person who has been entrusted with the duty of performing or procuring the desired celebration is a layman (such persons also are sometimes called "Lay Chaplains"); _Collative_, if it is provided that a bishop shall collate or confer the right to act upon the accepted candidate, who otherwise could not be recognized as an ecclesiastical chaplain. There are elaborate regulations governing the appointment and conduct of these chaplains.

Other classes of chaplains are:--(1) _Parochial_ or _Auxiliary Chaplains_, appointed either by a parish priest (under a provision authorized by the Council of Trent) or by a bishop to take over certain specified duties which he is unable to perform; (2) _Chaplains of Convents_, appointed by a bishop: these must be men of mature age, should not be regulars unless secular priests cannot be obtained, and are not generally to be appointed for life; (3) _Pontifical Chaplains_, some of whom (known as Private Chaplains) assist the pontiff in the celebration of Mass; others attached directly to the pope are honorary private chaplains who occasionally assist the private chaplains, private clerics of the chapel, common chaplains and supernumerary chaplains. The common chaplains were instituted by Alexander VII., and in 1907 were definitely allowed the title "Monsignore" by Pius X.

CHAPLIN, HENRY (1841- ), English statesman, second son of the Rev. Henry Chaplin, of Blankney, Lincolnshire, was educated at Harrow and Christ Church, Oxford, and first entered parliament in 1868 as Conservative member for Mid-Lincolnshire. He represented this constituency (which under the Redistribution Act of 1885 became the Sleaford division) till 1906, when he was defeated, but in 1907 returned to the House of Commons as member for Wimbledon at a by-election. In 1876 he married a daughter of the 3rd duke of Sutherland, but lost his wife in 1881. Outside the House of Commons he was a familiar figure on the Turf, winning the Derby with Hermit in 1867; and in politics from the first the "Squire of Blankney" took an active interest in agricultural questions, as a popular and typical representative of the English "country gentleman" class. Having filled the office of chancellor of the duchy of Lancaster in Lord Salisbury's short ministry of 1885-1886, he became president of the new Board of Agriculture in 1889, with a seat in the cabinet, and retained this post till 1892. In the Conservative cabinet of 1895-1900 he was president of the Local Government Board, and was responsible for the Agricultural Rates Act of 1896; but he was not included in the ministry after its reconstruction in 1900. Mr Chaplin had always been an advocate of protectionism, being in this respect the most prominent inheritor of the views of Lord George Bentinck; and when in 1903 the Tariff Reform movement began under Mr Chamberlain's leadership, he gave it his enthusiastic support, becoming a member of the Tariff Commission and one of the most strenuous advocates in the country of the new doctrines in opposition to free trade.

CHAPMAN, GEORGE (? 1559-1634), English poet and dramatist, was born near Hitchin. The inscription on the portrait which forms the frontispiece of _The Whole Works of Homer_ states that he was then (1616) fifty-seven years of age. Anthony a Wood (_Athen. Oxon._ ii. 575) says that about 1574 he was sent to the university, "but whether first to this of Oxon, or that of Cambridge, is to me unknown; sure I am that he spent some time in Oxon, where he was observed to be most excellent in the Latin and Greek tongues, but not in logic or philosophy." Chapman's first extant play, _The Blind Beggar of Alexandria_, was produced in 1596, and two years later Francis Meres mentions him in _Palladis Tamia_ among the "best for tragedie" and the "best for comedie." Of his life between leaving the university and settling in London there is no account. It has been suggested, from the detailed knowledge displayed in _The Shadow of Night_ of an incident in Sir Francis Vere's campaign, that he saw service in the Netherlands. There are frequent entries with regard to Chapman in Henslowe's diary for the years 1598-1599, but his dramatic

## activity slackened during the following years, when his attention was

chiefly occupied by his _Homer_. In 1604 he was imprisoned with John Marston for his share in _Eastward Ho_, in which offence was given to the Scottish party at court. Ben Jonson voluntarily joined the two, who were soon released. Chapman seems to have enjoyed favour at court, where he had a patron in Prince Henry, but in 1605 Jonson and he were for a short time in prison again for "a play." Beaumont, the French ambassador in London, in a despatch of the 5th of April 1608, writes that he had obtained the prohibition of a performance of _Biron_ in which the queen of France was represented as giving Mademoiselle de Verneuil a box on the ears. He adds that three of the actors were imprisoned, but that the chief culprit, the author, had escaped (Raumer, _Briefe aus Paris_, 1831, ii. 276). Among Chapman's patrons was Robert Carr, earl of Somerset, to whom he remained faithful after his disgrace. Chapman enjoyed the friendship and admiration of his great contemporaries. John Webster in the preface to _The White Devil_ praised "his full and heightened style," and Ben Jonson told Drummond of Hawthornden that Fletcher and Chapman "were loved of him." These friendly relations appear to have been interrupted later, for there is extant in the Ashmole MSS. an "Invective written by Mr George Chapman against Mr Ben Jonson." Chapman died in the parish of St Giles in the Fields, and was buried on the 12th of May 1634 in the churchyard. A monument to his memory was erected by Inigo Jones. (M. Br.)

Chapman, his first biographer is careful to let us know, "was a person of most reverend aspect, religious and temperate, qualities rarely meeting in a poet"; he had also certain other merits at least as necessary to the exercise of that profession. He had a singular force and solidity of thought, an admirable ardour of ambitious devotion to the service of poetry, a deep and burning sense at once of the duty implied and of the dignity inherent in his office; a vigour, opulence, and loftiness of phrase, remarkable even in that age of spiritual strength, wealth and exaltation of thought and style; a robust eloquence, touched not unfrequently with flashes of fancy, and kindled at times into heat of imagination. The main fault of his style is one more commonly found in the prose than in the verse of his time,--a quaint and florid obscurity, rigid with elaborate rhetoric and tortuous with labyrinthine illustration; not dark only to the rapid reader through closeness and subtlety of thought, like Donne, whose miscalled obscurity is so often "all glorious within," but thick and slab as a witch's gruel with forced and barbarous eccentricities of articulation. As his language in the higher forms of comedy is always pure and clear, and sometimes exquisite in the simplicity of its earnest and natural grace, the stiffness and density of his more ambitious style may perhaps be attributed to some pernicious theory or conceit of the dignity proper to a moral and philosophic poet. Nevertheless, many of the gnomic passages in his tragedies and allegoric poems are of singular weight and beauty; the best of these, indeed, would not discredit the fame of the very greatest poets for sublimity of equal thought and expression: witness the lines chosen by Shelley as the motto for a poem, and fit to have been chosen as the motto for his life.

The romantic and sometimes barbaric grandeur of Chapman's _Homer_ remains attested by the praise of Keats, of Coleridge and of Lamb; it is written at a pitch of strenuous and laborious exaltation, which never flags or breaks down, but never flies with the ease and smoothness of an eagle native to Homeric air. From his occasional poems an expert and careful hand might easily gather a noble anthology of excerpts, chiefly gnomic or meditative, allegoric or descriptive. The most notable examples of his tragic work are comprised in the series of plays taken, and adapted sometimes with singular licence, from the records of such part of French history as lies between the reign of Francis I. and the reign of Henry IV., ranging in date of subject from the trial and death of Admiral Chabot to the treason and execution of Marshal Biron. The two plays bearing as epigraph the name of that famous soldier and conspirator are a storehouse of lofty thought and splendid verse, with scarcely a flash or sparkle of dramatic action. The one play of Chapman's whose popularity on the stage survived the Restoration is _Bussy d'Ambois_ (d'Amboise),--a tragedy not lacking in violence of

## action or emotion, and abounding even more in sweet and sublime

interludes than in crabbed and bombastic passages. His rarest jewels of thought and verse detachable from the context lie embedded in the tragedy of _Caesar and Pompey_, whence the finest of them were first extracted by the unerring and unequalled critical genius of Charles Lamb. In most of his tragedies the lofty and labouring spirit of Chapman may be said rather to shine fitfully through parts than steadily to pervade the whole; they show nobly altogether as they stand, but even better by help of excerpts and selections. But the excellence of his best comedies can only be appreciated by a student who reads them fairly and fearlessly through, and, having made some small deductions on the score of occasional pedantry and occasional indecency, finds in _All Fools_, _Monsieur d'Olive_, _The Gentleman Usher_, and _The Widow's Tears_ a wealth and vigour of humorous invention, a tender and earnest grace of romantic poetry, which may atone alike for these passing blemishes and for the lack of such clear-cut perfection of character and such dramatic progression of interest as we find only in the yet higher poets of the English heroic age.

So much it may suffice to say of Chapman as an original poet, one who held of no man and acknowledged no master, but from the birth of Marlowe well-nigh to the death of Jonson held on his own hard and haughty way of austere and sublime ambition, not without kindly and graceful inclination of his high grey head to salute such younger and still nobler compeers as Jonson and Fletcher. With Shakespeare we should never have guessed that he had come at all in contact, had not the keen intelligence of William Minto divined or rather discerned him to be the rival poet referred to in Shakespeare's sonnets with a grave note of passionate satire, hitherto as enigmatic as almost all questions connected with those divine and dangerous poems. This conjecture Professor Minto fortified by such apt collocation and confrontation of passages that we may now reasonably accept it as an ascertained and memorable fact.

The objections which a just and adequate judgment may bring against Chapman's master-work, his translation of Homer, may be summed up in three epithets: it is romantic, laborious, Elizabethan. The qualities implied by these epithets are the reverse of those which should distinguish a translator of Homer; but setting this apart, and considering the poems as in the main original works, the superstructure of a romantic poet on the submerged foundations of Greek verse, no praise can be too warm or high for the power, the freshness, the indefatigable strength and inextinguishable fire which animate this exalted work, and secure for all time that shall take cognizance of English poetry an honoured place in its highest annals for the memory of Chapman. (A. C. S.)

Chapman's works include:--[Greek: Skia nyktos]: _The Shadow of Night: Containing two Poeticall Hymnes_ ... (1594), the second of which deals with Sir Francis Vere's campaign in the Netherlands; _Ovid's Banquet of Sence. A Coronet for his Mistresse Philosophie; and His Amorous Zodiacke with a translation of a Latine coppie, written by a Fryer, Anno Dom. 1400_ (1595, 2nd ed. 1639), a collection of poems frequently quoted from in _England's Parnassus_ (1600); "De Guiana, carmen epicum," a poem prefixed to Lawrence Keymis's _A Relation of the second voyage to Guiana_ (1596); _Hero and Leander. Begun by Christopher Marloe; and finished by George Chapman_ (1598); _The Blinde begger of Alexandria, most pleasantly discoursing his variable humours_ ... (acted 1596, printed 1598), a popular comedy; _A Pleasant Comedy entituled An Humerous dayes Myrth_ (identified by Mr Fleay with the "Comodey of Umero" noted by Henslowe on the 11th of May 1597; printed 1599); _Al Fooles, A Comedy_ (paid for by Henslowe on the 2nd of July 1599, its original name being "The World runs on wheels"; printed 1605); _The Gentleman Usher_ (c. 1601, pr. 1606), a comedy; _Monsieur d'Olive_ (1604, pr. 1606), one of his most amusing and successful comedies; _Eastward Hoe_ (1605), written in conjunction with Ben Jonson and John Marston, an excellent comedy of city life; _Bussy d'Ambois,[1] A Tragedie_ (1604, pr. 1607, 1608, 1616, 1641, &c.), the scene of which is laid in the court of Henry III.; _The Revenge of Bussy d'Ambois. A Tragedie_ (pr. 1613, but probably written much earlier); _The Conspiracie, And Tragedie of Charles Duke of Byron. Marshall of France, ... in two plays_ (1607 and 1608; pr. 1608 and 1625); _May-Day, A witty Comedie_ (pr. 1611; but probably acted as early as 1601); _The widdowes Teares. A Comedie_ (pr. 1612; produced perhaps as early as 1605); _Caesar and Pompey: A Roman Tragedy, declaring their warres. Out of whose events is evicted this Proposition. Only a just man is a freeman_ (pr. 1631), written, says Chapman in the dedication, "long since," but never staged.

_The Tragedy of Alphonsus Emperour of Germany_ (see the edition by Dr Karl Elye; Leipzig, 1867) and _Revenge for Honour_ (1654)[2] both bear Chapman's name on the title-page, but his authorship has been disputed. In _The Ball_ (lic. 1632; pr. 1639), a comedy, and _The Tragedie of Chabot Admirall of France_ (lic. 1635; pr. 1639) he collaborated with James Shirley. _The memorable Masque of the two Honourable Houses or Inns of Court; the Middle Temple and Lyncoln's Inne_, was performed at court in 1613 in honour of the marriage of the Princess Elizabeth.

_The Whole Works of Homer: Prince of Poets. In his Iliads and Odysseys_ ... appeared in 1616, and about 1624 he added _The Crowne of all Homers works Batrachomyomachia or the Battaile of Frogs and Mise. His Hymns and Epigrams._ But the whole works had been already published by instalments. _Seaven Bookes of the Iliades of Homer_ had appeared in 1598, _Achilles Shield_ in the same year, books i.-xii. about 1609; in 1611 _The Iliads of Homer, Prince of Poets_ ...; and in 1614 _Twenty-four Bookes of Homer's Odisses_ were entered at Stationers' Hall. In 1609 he addressed to Prince Henry _Enthymiae Raptus; or the Teares of Peace_, and on the death of his patron he contributed _An Epicede, or Funerall Song_ (1612). A paraphrase of _Petrarchs Seven Penitentiall Psalms_ (1612), a poem in honour of the marriage of Robert Carr, earl of Somerset, and Frances, the divorced countess of Essex, indiscreetly entitled _Andromeda Liberata_ ... (1614), a translation of _The Georgicks of Hesiod_ (1618), _Pro Vere Autumni Lachrymae_ (1622), in honour of Sir Horatio Vere, _A justification of a Strange Action of Nero ... also ... the fifth Satyre of Juvenall_ (1629), and _Eugenia_ ... (1614), an elegy on Sir William Russell, complete the list of his separately published works.

Chapman's _Homer_ was edited in 1857 by the Rev. Richard Hooper; and a reprint of his dramatic works appeared in 1873. The standard edition of Chapman is the _Works_, edited by R.H. Shepherd (1874-1875), the third volume of which contains an "Essay on the Poetical and Dramatic works of George Chapman," by Mr Swinburne, printed separately in 1875. The selection of his plays (1895) for the Mermaid Series is edited by Mr W.L. Phelps. For the sources of the plays see Emil Koeppel, "Anellen Studien zu den Dramen George Chapman's, Philip Massinger's und John Ford's" in _Quellen und Forschungen zur Sprach und Kulturgeschichte_ (vol. 82, Strassburg, 1897). The suggestion of W. Minto (see _Characteristics of the English Poets_, 1885) that Chapman was the "rival poet" of Shakespeare's sonnets is amplified in Mr A. Acheson's _Shakespeare and the Rival Poet_ (1903). Much satire in Chapman's introduction is there applied to Shakespeare. For other criticisms of his translation of Homer see Matthew Arnold, _Lectures on translating Homer_ (1861), and Dr A. Lohff, _George Chapman's Ilias-Ubersetzung_ (Berlin, 1903). (M. Br.)

FOOTNOTES:

[1] Chapman's source in this piece remains undetermined. It cannot be the _Historia sui temporis_ of Jacques de Thorn, for the 4th volume of his work, which relates the story, was not published until 1609 (see Koeppel, p. 14).

[2] This play appears to have been issued in 1653 with the title _The Parracide, or Revenge for Honour_ as the work of Henry Glathorne.

CHAPMAN (from O. Eng. _ceap_, and Mid. Eng. _cheap_, to barter, cf. "Cheapside" in London, and Ger. _Kaufmann_), one who buys or sells, a trader or dealer, especially an itinerant pedlar. The word "chap," now a slang term, meant originally a customer.

CHAPONE, HESTER (1727-1801), English essayist, daughter of Thomas Mulso, a country gentleman, was born at Twywell, Northamptonshire, on the 27th of October 1727. She was a precocious child, and at the age of nine wrote a romance entitled _The Loves of Amoret and Melissa_. Hecky Mulso, as she was familiarly called, developed a beautiful voice, which earned her the name of "the linnet." While on a visit to Canterbury she made the acquaintance of the learned Mrs Elizabeth Carter, and soon became one of the admirers of the novelist Samuel Richardson. She was one of the little court of women who gathered at North End, Fulham; and in Miss Susannah Highmore's sketch of the novelist reading _Sir Charles Grandison_ to his friends Miss Mulso is the central figure. She corresponded with Richardson on "filial obedience" in letters as long as his own, signing herself his "ever obliged and affectionate child." She admired, however, with discrimination, and in the words of her biographer (_Posthumous Works_, 1807, p. 9) "her letters show with what dignity, tempered with proper humility, she could maintain her own well-grounded opinion." In 1760 Miss Mulso, with her father's reluctant consent, married the attorney, John Chapone, who had been befriended by Richardson. Her husband died within a year of her marriage. Mrs Chapone remained in London visiting various friends. She had already made small contributions to various periodicals when she published, in 1772, her best known work, _Letters on the Improvement of the Mind._ This book brought her numerous requests from distinguished persons to undertake the education of their children. She died on the 25th of December 1801.

See _The Posthumous Works of Mrs Chapone, containing her correspondence with Mr Richardson; a series of letters to Mrs Elizabeth Carter ... together with an account of her life and character drawn up by her own family_ (1807).

CHAPPE, CLAUDE (1763-1805), French engineer, was born at Brulon (Sarthe) in 1763. He was the inventor of an optical telegraph which was widely used in France until it was superseded by the electric telegraph. His device consisted of an upright post, on the top of which was fastened a transverse bar, while at the ends of the latter two smaller arms moved on pivots. The position of these bars represented words or letters; and by means of machines placed at intervals such that each was distinctly visible from the next, messages could be conveyed through 50 leagues in a quarter of an hour. The machine was adopted by the Legislative Assembly in 1792, and in the following year Chappe was appointed _ingenieur-telegraphe_; but the originality of his invention was so much questioned that he was seized with melancholia and (it is said) committed suicide at Paris in 1805.

His elder brother, Ignace Urbain Jean Chappe (1760-1829), took part in the invention of the telegraph, and with a younger brother, Pierre Francois, from 1805 to 1823 was administrator of the telegraphs, a post which was also held by two other brothers, Rene and Abraham, from 1823 to 1830. Ignace was the author of a _Histoire de la telegraphie_ (1824). An uncle, Jean Chappe d'Auteroche (1728-1769), was an astronomer who observed two transits of Venus, one in Siberia in 1761, and the other in 1769 in California, where he died.

CHAPPELL, WILLIAM (1809-1888), English writer on music, a member of the London musical firm of Chappell & Co., was born on the 20th of November 1809, eldest son of Samuel Chappell (d. 1834), who founded the business. William Chappell is particularly noteworthy for his starting the Musical Antiquarian Society in 1840, and his publication of the standard work _Popular Music of the Olden Time_ (1855-1859)--an expansion of a collection of "national English airs" made by him in 1838-1840. The modern revival of interest in English folk-songs owes much to this work, which has since been re-edited by Professor H.E. Wooldridge (1893). W. Chappell died on the 20th of August 1888. His brother, Thomas Patey Chappell (d. 1902), meanwhile had largely extended the publishing business, and had started (1859) the Monday and Saturday Popular Concerts at St James's Hall, which were successfully managed by a younger brother, S. Arthur Chappell, till they came to an end towards the close of the century.

CHAPRA, or CHUPRA, a town of British India, the administrative headquarters of Saran district in Bengal, near the left bank of the river Gogra, just above its confluence with the Ganges; with a railway station on the Bengal & North-Western line towards Oudh. Pop. (1901) 45,901, showing a decrease of 21% in the decade. There are a government high school, a German Lutheran mission, and a public library endowed by a former maharaja of Hatwa. Chapra is the centre of trade in indigo and saltpetre, and conducts a large business by water as well as by rail.

CHAPTAL, JEAN ANTOINE CLAUDE, COMTE DE CHANTE-LOUP (1756-1832), French chemist and statesman, was born at Nogaret, Lozere, on the 4th of June 1756. The son of an apothecary, he studied chemistry at Montpellier, obtaining his doctor's diploma in 1777, when he repaired to Paris. In 1781 the States of Languedoc founded a chair of chemistry for him at the school of medicine in Montpellier, where he taught the doctrines of Lavoisier. The capital he acquired by the death of a wealthy uncle he employed in the establishment of chemical works for the manufacture of the mineral acids, alum, white-lead, soda and other substances. His labours in the cause of applied science were at length recognized by the French government, which presented him with letters of nobility, and the cordon of the order of Saint Michel. During the Revolution a publication by Chaptal, entitled _Dialogue entre un Montagnard et un Girondin_, caused him to be arrested; but being speedily set at liberty through the intermission of his friends, he undertook, in 1793, the management of the saltpetre works at Grenelle. In the following year he went to Montpellier, where he remained till 1797, when he returned to Paris. After the _coup d'etat_ of the 18th of Brumaire (November 9, 1799) he was made a councillor of state by the First Consul, and succeeded Lucien Bonaparte as minister of the interior, in which capacity he established a chemical manufactory near Paris, a school of arts, and a society of industries; he also reorganized the hospitals, introduced the metrical system of weights and measures, and otherwise greatly encouraged the arts and sciences. A misunderstanding between him and Napoleon (who conferred upon him the title of comte de Chanteloup) occasioned Chaptal's retirement from office in 1804; but before the end of that year he was again received into favour by the emperor, who bestowed on him the grand cross of the Legion of Honour, and made him treasurer to the conservative senate. On Napoleon's return from Elba, Chaptal was made director-general of commerce and manufactures and a minister of state. He was obliged after the downfall of the emperor to withdraw into private life; and his name was removed from the list of the peers of France until 1819. In 1816, however, he was nominated a member of the Academy of Sciences by Louis XVIII. Chaptal was especially a popularizer of science, attempting to apply to industry and agriculture the discoveries of chemistry. In this way he contributed largely to the development of modern industry. He died at Paris on the 30th of July 1832.

His literary works exhibit both vigour and perspicuity of style; he wrote, in addition to various articles, especially in the _Annales de chimie, Elemens de chimie_ (3 vols., 1790; new ed., 1796-1803); _Traite du salpetre et des goudrons_ (1796); _Tableau des principaux sels terreux_ (1798); _Essai sur le perfectionnement des arts chimiques en France_ (1800); _Art de faire, de gouverner, et de perfectionner les vins_ (1 vol., 1801; new ed., 1819); _Traite theorique et pratique sur la culture de la vigne, &c._, (2 vols., 1801; new ed., 1811); _Essai sur le blanchiment_ (1801); _La Chimie appliquee aux arts_ (4 vols., 1806); _Art de la teinture du coton en rouge_ (1807); _Art du teinturier et du degraisseur_ (1800); _De l'industrie francaise_ (2 vols., 1819); _Chimie appliquee a l'agriculture_ (2 vols., 1823; new ed., 1829).

CHAPTER (a shortened form of _chapiter_, a word still used in architecture for a capital; derived from O. Fr. _chapitre_, Lat. _capitellum_, diminutive of _caput_, head), a principal division or section of a book, and so applied to acts of parliament, as forming "chapters" or divisions of the legislation of a session of parliament. The name "chapter" is given to the permanent body of the canons of a cathedral or collegiate church, presided over, in the English Church, by the dean, and in the Roman communion by the provost or the dean, and also to the body of the members of a religious order. This may be a "conventual" chapter of the monks of a particular monastery, "provincial" of the members of the order in a province, or "general" of the whole order. This ecclesiastical use of the word arose from the custom of reading a chapter of Scripture, or a head (_capitulum_) of the _regula_, to the assembled canons or monks. The transference from the reading to the assembly itself, and to the members constituting it, was easy, through such phrases as _convenire ad capitulum_. The title "chapter" is similarly used of the assembled body of knights of a military or other order. (See also CANON; CATHEDRAL; DEAN).

CHAPTER-HOUSE (Lat. _capitolium_, Ital. _capitolo_, Fr. _chapitre_, Ger. _Kapitelhaus_), the chamber in which the chapter or heads of the monastic bodies (see ABBEY and CATHEDRAL) assembled to transact business. They are of various forms; some are oblong apartments, as Canterbury, Exeter, Chester, Gloucester, &c.; some octagonal, as Salisbury, Westminster, Wells, Lincoln, York, &c. That at Lincoln has ten sides, and that at Worcester is circular; most are vaulted internally and polygonal externally, and some, as Salisbury, Wells, Lincoln, Worcester, &c., depend on a single slight vaulting shaft for the support of the massive vaulting. They are often provided with a vestibule, as at Westminster, Lincoln, Salisbury and are almost exclusively English.

CHAPU, formerly an important maritime town of China, in the province of Cheh-kiang, 50 m. N.W. of Chen-hai, situated in one of the richest and best cultivated districts in the country. It is the port of Hang-chow, with which it has good canal communication, and it was formerly the only Chinese port trading with Japan. The town has a circuit of about 5 m. exclusive of the suburbs that lie along the beach; and the Tatar quarter is separated from the rest by a wall. It was captured and much injured by the British force in 1842, but was abandoned immediately after the engagement. The sea around it has now silted up, though in the middle of the 19th century it was accessible to the light-draught ships of the British fleet.

CHAR (_Salvelinus_), a fish of the family Salmonidae, represented in Europe, Asia and North America. The best known and most widely distributed species, the one represented in British and Irish lakes, is _S. alpinus_, a graceful and delicious fish, covered with very minute scales and usually dark olive, bluish or purplish black above, with or without round orange or red spots, pinkish white or yellowish pink to scarlet or claret red below. When the char go to sea, they assume a more silvery coloration, similar to that of the salmon and sea trout; the red spots become very indistinct and the lower parts are almost white. The very young are also silvery on the sides and white below, and bear 11 to 15 bars, or parr-marks, on the side. This fish varies much according to localities; and the difference in colour, together with a few points of doubtful constancy, have given rise to the establishment of a great number of untenable so-called species, as many as seven having been ascribed to the British and Irish fauna, viz. _S. alpinus, nivalis, killinensis, willoughbyi, perisii, colii_ and _grayi_, the last from Lough Melvin, Ireland, being the most distinct. _S. alpinus_ varies much in size according to the waters it inhabits, remaining dwarfed in some English lakes, and growing to 2 ft. or more in other localities. In other parts of Europe, also, various local forms have been distinguished, such as the "omble chevalier" of the lakes of Switzerland and Savoy (_S. umbla_), the "Sabling" of the lakes of South Germany and Austria (_S. salvelinus_), the "kullmund" of Norway (_S. carbonarius_), &c., while the North American _S. parkei, alipes, stagnalis, arcturus, areolus, oquassa_ and _marstoni_ may also be regarded as varieties. Taken in this wide sense, _S. alpinus_ has a very extensive distribution. In central Europe, in the British islands and in the greater part of Scandinavia it is confined to mountain lakes, but farther to the north, in both the Old World and the New, it lives in the sea and ascends rivers to spawn. In Lapland, Iceland, Greenland and other parts of the arctic regions, it ranks among the commonest fishes. The extreme northern point at which char have been obtained is 82 deg. 34' N. (Victoria lake and Floeberg Beach, Arctic America). It reaches an altitude of 2600 ft. in the Alps and 6000 ft. in the Carpathians.

The American brook char, _S. fontinalis_, is a close ally of _S. alpinus_, differing from it in having fewer and shorter gill-rakers, a rather stouter body, the back more or less barred or marbled with dark olive or black, and the dorsal and caudal fins mottled or barred with black. Many local varieties of colour have been distinguished. Sea-run individuals are often nearly plain bright silvery. It is a small species, growing to about 18 in. abundant in all clear, cold streams of North America, east of the Mississippi, northward to Labrador. The fish has been introduced into other parts of the United States, and also into Europe.

Another member of the same section of Salmonidae is the Great Lake char of North America, _S. namaycush_, one of the largest salmonids, said to attain a weight of 100 lb. The body is very elongate and covered with extremely small scales. The colour varies from grey to black, with numerous round pale spots, which may be tinged with reddish; the dorsal and caudal fins reticulate with darker. This fish inhabits the Great Lakes regions and neighbouring parts of North America.

CHAR-A-BANC (Fr. for "benched carriage"), a large form of wagonette-like vehicle for passengers, but with benched seats arranged in rows, looking forward, commonly used for large parties, whether as public conveyances or for excursions.

CHARACTER (Gr. [Greek: charakter] from [Greek: charattein], to scratch), a distinctive mark (spelt "caracter" up to the 16th century, with other variants); so applied to symbols of notation or letters of the alphabet; more figuratively, the distinguishing traits of anything, and

## particularly the moral and mental qualities of an individual human

being, the sum of those qualities which distinguish him as a personality. From the latter usage "a character" becomes almost identical with "reputation"; and in the sense of "giving a servant a character," the word involves a written testimonial. For the law relating to servants' characters see MASTER AND SERVANT. A further development is the use of "character" to mean an "odd or eccentric person"; or of a "character actor," to mean an actor who plays a highly-coloured strange part. The word is also used as the name of a form of literature, consisting of short descriptions of types of character. Well-known examples of such "characters" are those of Theophrastus and La Bruyere, and in English, of Joseph Hall (1574-1656) and Sir Thomas Overbury.

CHARADE, a kind of riddle, probably invented in France during the 18th century, in which a word of two or more syllables is divined by guessing and combining into one word (the answer) the different syllables, each of which is described, as an independent word, by the giver of the charade. Charades may be either in prose or verse. Of poetic charades those by W. Mackworth Praed are well known and excellent examples, while the following specimens in prose may suffice as illustrations. "My _first_, with the most rooted antipathy to a Frenchman, prides himself, whenever they meet, upon sticking close to his jacket; my _second_ has many virtues, nor is its least that it gives its name to my first; my _whole_ may I never catch!" "My _first_ is company; my _second_ shuns company; my _third_ collects company; and my _whole_ amuses company." The solutions are _Tar-tar_ and _Co-nun-drum_. The most popular form of this amusement is the acted charade, in which the meaning of the different syllables is acted out on the stage, the audience being left to guess each syllable and thus, combining the meaning of all the syllables, the whole word. A brilliant example of the acted charade is described in Thackeray's _Vanity Fair_.

CHARCOAL, the blackish residue consisting of impure carbon obtained by removing the volatile constituents of animal and vegetable substances; wood gives origin to wood-charcoal; sugar to sugar-charcoal; bone to bone-charcoal (which, however, mainly consists of calcium phosphate); while coal gives "coke" and "gas-carbon." The first part of the word charcoal is of obscure origin. The independent use of "char," meaning to scorch, to reduce to carbon, is comparatively recent, and must have been taken from "charcoal," which is quite early. The _New English Dictionary_ gives as the earliest instance of "char" a quotation dated 1679. Similarly the word "chark" or "chak," meaning the same as "char," is also late, and is probably due to a wrong division of the word "charcoal," or, as it was often spelled in the 16th and 17th centuries, "charkole" and "charke-coal." No suggestions for an origin of "char" are satisfactory. It may be a use of the word "chare," which appears in "char-woman," the American "chore"; in all these words it means "turn," a turn of work, a job, and "charcoal" would have to mean "turned coal," i.e. wood changed or turned to coal, a somewhat forced derivation, for which there is no authority. Another suggestion is that it is connected with "chirk" or "chark," an old word meaning "to make a grating noise."

_Wood-charcoal._--In districts where there is an abundance of wood, as in the forests of France, Austria and Sweden, the operation of charcoal-burning is of the crudest description. The method, which dates back to a very remote period, generally consists in piling billets of wood on their ends so as to form a conical pile, openings being left at the bottom to admit air, with a central shaft to serve as a flue. The whole is covered with turf of moistened soil. The firing is begun at the bottom of the flue, and gradually spreads outwards and upwards. The success of the operation--both as to the intrinsic value of the product and its amount--depends upon the rate of the combustion. Under average conditions, 100 parts of wood yield about 60 parts by volume, or 25 parts by weight, of charcoal. The modern process of carbonizing wood--either in small pieces or as sawdust--in cast iron retorts is extensively practised where wood is scarce, and also by reason of the recovery of valuable by-products (wood spirit, pyroligneous acid, wood-tar), which the process permits. The question of the temperature of the carbonization is important; according to J. Percy, wood becomes brown at 220 deg. C., a deep brown-black after some time at 280 deg., and an easily powdered mass at 310 deg. Charcoal made at 300 deg. is brown, soft and friable, and readily inflames at 380 deg.; made at higher temperatures it is hard and brittle, and does not fire until heated to about 700 deg. One of the most important applications of wood-charcoal is as a constituent of gunpowder (q.v.). It is also used in metallurgical operations as a reducing agent, but its application has been diminished by the introduction of coke, anthracite smalls, &c. A limited quantity is made up into the form of drawing crayons; but the greatest amount is used as a fuel.

The porosity of wood-charcoal explains why it floats on the surface of water, although it is actually denser, its specific gravity being about 1.5. The porosity also explains the property of absorbing gases and vapours; at ordinary temperatures ammonia and cyanogen are most readily taken up; and Sir James Dewar has utilized this property for the preparation of high vacua at low temperatures. This character is commercially applied in the use of wood-charcoal as a disinfectant. The fetid gases produced by the putrefaction and waste of organic matter enter into the pores of the charcoal, and there meet with the oxygen previously absorbed from the atmosphere; oxidation ensues, and the noxious effluvia are decomposed. Generally, however, the action is a purely mechanical one, the gases being only absorbed. Its pharmacological action depends on the same property; it absorbs the gases of the stomach and intestines (hence its use in cases of flatulence), and also liquids and solids. Wood-charcoal has also the power of removing colouring matters from solutions, but this property is possessed in a much higher degree by animal-charcoal.

_Animal-charcoal_ or _bone black_ is the carbonaceous residue obtained by the dry distillation of bones; it contains only about 10% of carbon, the remainder being calcium and magnesium phosphates (80%) and other inorganic material originally present in the bones. It is generally manufactured from the residues obtained in the glue (q.v.) and gelatin (q.v.) industries. Its decolorizing power was applied in 1812 by Derosne to the clarification of the syrups obtained in sugar-refining; but its use in this direction has now greatly diminished, owing to the introduction of more active and easily managed reagents. It is still used to some extent in laboratory practice. The decolorizing power is not permanent, becoming lost after using for some time; it may be revived, however, by washing and reheating.

_Lampblack_ or _soot_ is the familiar product of the incomplete combustion of oils, pitch, resins, tallow, &c. It is generally prepared by burning pitch residues (see COAL-TAR) and condensing the product. Thus obtained it is always oily, and, before using as a pigment, it must be purified by ignition in closed crucibles (see CARBON).

CHARCOT, JEAN MARTIN (1825-1893), French physician, was born in Paris on the 29th of November 1825. In 1853 he graduated as M.D. of Paris University, and three years later was appointed physician of the Central Hospital Bureau. In 1860 he became professor of pathological anatomy in the medical faculty of Paris, and in 1862 began that famous connexion with the Salpetriere which lasted to the end of his life. He was elected to the Academy of Medicine in 1873, and ten years afterwards became a member of the Institute. His death occurred suddenly on the 16th of August 1893 at Morvan, where he had gone for a holiday. Charcot, who was a good linguist and well acquainted with the literature of his own as well as of other countries, excelled as a clinical observer and a pathologist. His work at the Salpetriere exerted a great influence on the development of the science of neurology, and his classical _Lecons sur les maladies du systeme nerveux_, the first series of which was published in 1873, represents an enormous advance in the knowledge and discrimination of nervous diseases. He also devoted much attention to the study of obscure morbid conditions like hysteria, especially in relation to hypnotism (q.v.); indeed, it is in connexion with his investigation into the phenomena and results of the latter that his name is popularly known. In addition to his labours on neurological and even physiological problems he made many contributions to other branches of medicine, his published works dealing, among other topics, with liver and kidney diseases, gout and pulmonary phthisis. As a teacher he was remarkably successful, and always commanded an enthusiastic band of followers.

CHARD, JOHN ROUSE MERRIOTT (1847-1897), British soldier, was born at Boxhill, near Plymouth, on the 21st of December 1847, and in 1868 entered the Royal Engineers. In 1878 Lieutenant Chard was ordered to South Africa to take part in the Zulu War, and was stationed at the small post of Rorke's Drift to protect the bridges across the Buffalo river, and some sick men and stores. Here, with Lieutenant Gonville Bromhead (1856-1891) and eighty men of the 2nd 24th Foot, he heard, on the 22nd of January 1879, of the disaster of Isandhlwana from some fugitives who had escaped the slaughter. Believing that the victorious Zulus would attempt to cross into Natal, they prepared, hastily, to hold the Drift until help should come. They barricaded and loopholed the old church and hospital, and improvised defences from wagons, mealie sacks and bags of Indian corn. Early in the afternoon they were attacked by more than 3000 Zulus, who, after hours of desperate hand-to-hand fighting, carried the outer defences, an inner low wall of biscuit boxes, and the hospital, room by room. The garrison then retired to the stone kraal, and repulsed attack after attack through the night. The next morning relieving forces appeared, and the enemy retired. The spirited defence of Rorke's Drift saved Natal from a Zulu invasion, and Chard's and Bromhead's gallantry was rewarded with the V.C. and immediate promotion to the rank of captain and brevet-major. On Chard's return to England he became a popular hero. From 1893-1896 he commanded the Royal Engineers at Singapore, and was made a colonel in 1897. He died the same year at Hatch-Beauchamp, near Taunton, on the 1st of November.

CHARD, a market town and municipal borough in the Southern parliamentary division of Somersetshire, England, 142-1/2 m. W. by S. of London by the London & South Western railway. Pop. (1901) 4437. It stands on high ground within 1 m. of the Devonshire border. Its cruciform parish church of St Mary the Virgin is Perpendicular of the 15th century. A fine east window is preserved. The manufactures include linen, lace, woollens, brassware and ironware. Chard is governed by a mayor, 4 aldermen and 12 councillors. Area, 444 acres.

Chard (_Cerdre_, _Cherdre_, _Cherde_) was commercial in origin, being a trade centre near the Roman road to the west. There are two Roman villas in the parish. There was a British camp at Neroche in the neighbourhood. The bishop of Bath held Chard in 1086, and his successor granted in 1234 the first charter which made Chard a free borough, each burgage paying a rent of 12d. Trade in hides was forbidden to non-burgesses. This charter was confirmed in 1253, 1280 and 1285. Chard is said to have been incorporated by Elizabeth, as the corporation seal dates from 1570, but no Elizabethan charter can be found. It was incorporated by grant of Charles I. in 1642, and Charles II. gave a charter in 1683. Chard was a mesne borough, the first overlord being Bishop Joceline, whose successors held it (with a brief interval from 1545 to 1552) until 1801, when it was sold to Earl Poulett. Parliamentary representation began in 1312, and was lost in 1328. A market on Monday and fair on the 25th of July were granted in 1253, and confirmed in 1642 and 1683, when two more fair days were added (November 2 and May 3), the market being changed to Tuesday. The market day is now Monday, fairs being held on the first Wednesday in May, August and November, for corn and cattle only, their medieval importance as centres of the cloth trade having departed.

CHARDIN, JEAN SIMEON (1699-1779), French _genre_ painter, was born in Paris, and studied under Pierre Jacques Cazes (1676-1754), the historical painter, and Noel Nicolas Coypel. He became famous for his still-life pictures and domestic interiors, which are well represented at the Louvre, and for figure-painting, as in his _Le Benedicite_ (1740).

CHARDIN, SIR JOHN (1643-1713), French traveller, was born at Paris in 1643. His father, a wealthy jeweller, gave him an excellent education, and trained him in his own art; but instead of settling down in the ordinary routine of the craft, he set out in company with a Lyons merchant named Raisin in 1665 for Persia and India, partly on business and partly to gratify his own inclination. After a highly successful journey, during which he had received the patronage of Shah Abbas II. of Persia, he returned to France in 1670, and there published in the following year _Recit du Couronnement du roi de Perse Soliman III_. Finding, however, that his Protestant profession cut him off from all hope of honours or advancement in his native country, he set out again for Persia in August 1671. This second journey was much more adventurous than the first, as instead of going directly to his destination, he passed by Smyrna, Constantinople, the Crimea, Caucasia, Mingrelia and Georgia, and did not reach Ispahan till June 1673. After four years spent in researches throughout Persia, he again visited India, and returned to Europe by the Cape of Good Hope in 1677. The persecution of Protestants in France led him, in 1681, to settle in London, where he was appointed jeweller to the court, and received from Charles II. the honour of knighthood. In 1683 he was sent to Holland as representative of the English East India Company; and in 1686 he published the first part of his great narrative--_The Travels of Sir John Chardin into Persia and the East Indies, &c._ (London). Sir John died in London in 1713, and was buried in Westminster Abbey, where his monument bears the inscription _Nomen sibi fecit eundo_.

It was not till 1711 that the complete account of Chardin's travels appeared, under the title of _Journal du voyage du chevalier Chardin_, at Amsterdam. The Persian portion is to be found in vol. ii. of Harris's _Collection_, and extracts are reprinted by Pinkerton in vol. ix. The best complete reprint is by Langles (Paris, 1811). Sir John Chardin's narrative has received the highest praise from the most competent authorities for its fulness, comprehensiveness and fidelity; and it furnished Montesquieu, Rousseau, Gibbon and Helvetius with most important material.

CHARENTE, an inland department of south-western France, comprehending the ancient province of Angoumois, and inconsiderable portions of Saintonge, Poitou, Marche, Limousin and Perigord. It is bounded N. by the departments of Deux-Sevres and Vienne, E. by those of Vienne and Dordogne, S. by Dordogne and W. by Charente-Inferieure. Area 2305 sq. m. Pop. (1906) 351,733. The department, though it contains no high altitudes, is for the most part of a hilly nature. The highest points, many of which exceed 1000 ft., are found in the Confolentais, the granite region of the extreme north-east, known also as the Terres Froides. In the Terres Chaudes, under which name the remainder of the department is included, the levels vary in general between 300 and 650 ft., except in the western plains--the Pays-Bas and Champagne--where they range from 40 to 300 ft. A large part of Charente is thickly wooded, the principal forests lying in its northern districts. The department, as its name indicates, belongs mainly to the basin of the river Charente (area of basin 3860 sq. m.; length of river 225 m.), the chief affluents of which, within its borders, are the Tardoire, the Touvre and the Ne. The Confolentais is watered by the Vienne, a tributary of the Loire, while the arrondissement of Barbexieux in the south-west belongs almost wholly to the basin of the Gironde.

The climate is temperate but moist, the rainfall being highest in the north-east. Agriculturally, Charente is prosperous. More than half its surface is arable land, on the greater part of which cereals are grown. The potato is an important crop. The vine is predominant in the region of Champagne, the wine produced being chiefly distilled into the famous brandy to which the town of Cognac gives its name. The best pasture is found in the Confolentais, where horned cattle are largely reared. The chief fruits are chestnuts, walnuts and cider-apples. The poultry raised in the neighbourhood of Barbezieux is highly esteemed. Charente has numerous stone quarries, and there are peat workings and beds of clay which supply brick and tile-works and earthenware manufactories. Among the other industries, paper-making, which has its chief centre at Angouleme, is foremost. The most important metallurgical establishment is the large foundry of naval guns at Ruelle. Flour-mills and leather-works are numerous. There are also many minor industries subsidiary to paper-making and brandy-distilling, and Angouleme manufactures gunpowder and confectionery. Coal, salt and timber are prominent imports. Exports include paper, brandy, stone and agricultural products. The department is served chiefly by the Orleans and Ouest-Etat railways, and the Charente is navigable below Angouleme. Charente is divided into the five arrondissements of Angouleme, Cognac, Ruffec, Barbezieux and Confolens (29 cantons, 426 communes). It belongs to the region of the XII. army corps, to the province of the archbishop of Bordeaux, and to the academie (educational division) of Poitiers. Its court of appeal is at Bordeaux.

Angouleme (the capital), Cognac, Confolens, Jarnac and La Rochefoucauld (q.v.) are the more noteworthy places in the department. Barbezieux and Ruffec, capitals of arrondissements and agricultural centres, are otherwise of little importance. The department abounds in churches of Romanesque architecture, of which those of Bassac, St Amant-de-Boixe (portions of which are Gothic in style), Plassac and Gensac-la-Pallue may be mentioned. There are remains of a Gothic abbey church at La Couronne, and Roman remains at St Cybardeaux, Brossac and Chassenon (where there are ruins of the Gallo-Roman town of Cassinomagus).

CHARENTE-INFERIEURE, a maritime department of south-western France, comprehending the old provinces of Saintonge and Aunis, and a small portion of Poitou, and including the islands of Re, Oleron, Aix and Madame. Area, 2791 sq.m. Pop. (1906) 453,793. It is bounded N. by Vendee, N.E. by Deux-Sevres, E. by Charente, S.E. by Dordogne, S.W. by Gironde and the estuary of the Gironde, and W. by the Bay of Biscay. Plains and low hills occupy the interior; the coast is flat and marshy, as are the islands (Re, Aix, Oleron) which lie opposite to it. The department takes its name from the river Charente, which traverses it during the last 61 m. of its course and drains the central region. Its chief tributaries are on the right the Boutonne, on the left the Seugne. The climate is temperate and, except along the coast, healthy. There are several sheltered bays on the coast, and several good harbours, the chief of which are La Rochelle, Rochefort and Tonnay-Charente, the two latter some distance up the Charente. Royan on the north shore of the Gironde is an important watering-place much frequented for its bathing.

The majority of the inhabitants of Charente-Inferieure live by agriculture. The chief products of the arable land are wheat, oats, maize, barley and the potato. Horse and cattle-raising is carried on and dairying is prosperous. A considerable quantity of wine, most of which is distilled into brandy, is produced. The department has a few peat-workings, and produces freestone, lime and cement; the salt-marshes of the coast are important sources of mineral wealth. Glass, pottery, bricks and earthenware are prominent industrial products. Ship-building, brandy-distilling, iron-founding and machine construction are also carried on. Oysters and mussels are bred in the neighbourhood of La Rochelle and Marennes, and there are numerous fishing ports along the coast.

The railways traversing the department belong to the Ouest-Etat system, except one section of the Paris-Bordeaux line belonging to the Orleans Company. The facilities of the department for internal communication are greatly increased by the number of navigable streams which water it. The Charente, the Sevre Niortaise, the Boutonne, the Seudre and the Gironde furnish 142 m. of navigable waterway, to which must be added the 56 m. covered by the canals of the coast. There are 6 arrondissements (40 cantons, 481 communes), cognominal with the towns of La Rochelle, Rochefort, Marennes, Saintes, Jonzac and St Jean d'Angely--La Rochelle being the chief town of the department. The department forms the diocese of La Rochelle, and is attached to the 18th military region, and in educational matters to the academie of Poitiers. Its court of appeal is at Poitiers.

La Rochelle, St Jean d'Angely, Rochefort and Saintes (q.v.) are the principal towns. Surgeres and Aulnay possess fine specimens of the numerous Romanesque churches. Pons has a graceful chateau of the 15th and 16th centuries, beside which there rises a fine keep of the 12th century.

CHARENTON-LE-PONT, a town of northern France in the department of Seine, situated on the right bank of the Marne, at its confluence with the Seine, 1 m. S.E. of the fortifications of Paris, of which it is a suburb. Pop. (1906) 18,034. It derives the distinctive part of its name from the stone bridge of ten arches which crosses the Marne and unites the town with Alfortville, well known for its veterinary school founded in 1766. It has always been regarded as a point of great importance for the defence of the capital, and has frequently been the scene of sanguinary conflicts. The fort of Charenton on the left bank of the Marne is one of the older forts of the Paris defence. In the 16th and 17th centuries Charenton was the scene of the ecclesiastical councils of the Protestant party, which had its principal church in the town. At St Maurice adjoining Charenton is the famous Hospice de Charenton, a lunatic asylum, the foundation of which dates from 1641. Till the time of the Revolution it was used as a general hospital, and even as a prison, but from 1802 onwards it was specially appropriated to the treatment of lunacy. St Maurice has two other national establishments, one for the victims of accidents in Paris (_asile national Vacassy_), the other for convalescent working-men (_asile national de Vincennes_). Charenton has a port on the Canal de St Maurice, beside the Marne, and carries on boat-building and the manufacture of tiles and porcelain.

CHARES, Athenian general, is first heard of in 366 B.C. as assisting the Phliasians, who had been attacked by Argos and Sicyon. In 361 he visited Corcyra, where he helped the oligarchs to expel the democrats, a policy which led to the subsequent defection of the island from Athens. In 357, Chares was appointed to the command in the Social War, together with Chabrias, after whose death before Chios he was associated with Iphicrates and Timotheus (for the naval battle in the Hellespont, see TIMOTHEUS). Chares, having successfully thrown the blame for the defeat on his colleagues, was left sole commander, but receiving no supplies from Athens, took upon himself to join the revolted satrap Artabazus. A complaint from the Persian king, who threatened to send three hundred ships to the assistance of the confederates, led to the conclusion of peace (355) between Athens and her revolted allies, and the recall of Chares. In 349, he was sent to the assistance of Olynthus (q.v.) against Philip II. of Macedon, but returned without having effected anything; in the following year, when he reached Olynthus, he found it already in the hands of Philip. In 340 he was appointed to the command of a force sent to aid Byzantium against Philip, but the inhabitants, remembering his former plunderings and extortions, refused to receive him. In 338 he was defeated by Philip at Amphissa, and was one of the commanders at the disastrous battle of Chaeroneia. Lysicles, one of his colleagues, was condemned to death, while Chares does not seem to have been even accused. After the conquest of Thebes by Alexander (335), Chares is said to have been one of the Athenian orators and generals whose surrender was demanded. Two years later he was living at Sigeum, for Arrian (_Anabasis_ i. 12) states that he went from there to pay his respects to Alexander. In 332 he entered the service of Darius and took over the command of a Persian force in Mytilene, but capitulated on the approach of a Macedonian fleet on condition of being allowed to retire unmolested. He is last heard of at Taenarum, and is supposed to have died at Sigeum. Although boastful and vain-glorious, Chares was not lacking in personal courage, and was among the best Athenian generals of his time. At the best, however, he was "hardly more than an ordinary leader of mercenaries" (A. Holm). He openly boasted of his profligacy, was exceedingly avaricious, and his bad faith became proverbial.

Diod. Sic. xv. 75, 95, xvi. 7, 21, 22, 85-88; Plutarch, _Phocion_, 14; Theopompus, _ap._ Athenaeum, xii. p. 532; A. Schafer, _Demosthenes und seine Zeit_ (1885); A. Holm, _History of Greece_ (Eng. trans., 1896), vol. iii.

CHARES, of Lindus in Rhodes, a noted sculptor, who fashioned for the Rhodians a colossal bronze statue of the sun-god, the cost of which was defrayed by selling the warlike engines left behind by Demetrius Poliorcetes, when he abandoned the siege of the city in 303 B.C. (Pliny, _Nat. Hist._ xxxiv. 41). The colossus was seventy cubits (105 ft.) in height; and its fingers were larger than many statues. The notion that the legs were planted apart, so that ships could sail between them, is absurd. The statue was thrown down by an earthquake after 56 years; but the remains lay for ages on the spot.

CHARES, of Mytilene, a Greek belonging to the suite of Alexander the Great. He was appointed court-marshal or introducer of strangers to the king, an office borrowed from the Persian court. He wrote a history of Alexander in ten books, dealing mainly with the private life of the king. The fragments are chiefly preserved in Athenaeus.

See _Scriptores Rerum Alexandri_ (pp. 114-120) in the Didot edition of Arrian.

CHARGE (through the Fr. from the Late Lat. _carricare_, to load in a _carrus_ or wagon; cf. "cargo"), a load; from this, its primary meaning, also seen in the word "charger," a large dish, come the uses of the word for the powder and shot to load a firearm, the accumulation of electricity in a battery, the necessary quantity of dynamite or other explosive in blasting, and a device borne on an escutcheon in heraldry. "Charge" can thus mean a burden, and so a care or duty laid upon one, as in "to be in charge" of another. With a transference to that which lays such a duty on another, "charge" is used of the instructions given by a judge to a jury, or by a bishop to the clergy of his diocese. In the special sense of a pecuniary burden the word is used of the price of goods, of an encumbrance on property, and of the expenses of running a business. Further uses of the word are of the violent, rushing attack of cavalry, or of a bull or elephant, or football player; hence "charger" is a horse ridden in a charge, or more loosely a horse ridden by an officer, whether of infantry or cavalry.

CHARGE D'AFFAIRES (Fr. for "in charge of business"), the title of two classes of diplomatic agents, (1) _Charges d'affaires_ (_ministres charges d'affaires_), who were placed by the _reglement_ of the congress of Vienna in the 4th class of diplomatic agents, are heads of permanent missions accredited to countries to which, for some reason, it is not possible or not desirable to send agents of a higher rank. They are distinguished from these latter by the fact that their credentials are addressed by the minister for foreign affairs of the state which they are to represent to the minister for foreign affairs of the receiving state. Though still occasionally accredited, ministers of this class are now rare. They have precedence over the other class of _charges d'affaires_. (2) _Charges d'affaires per interim_, or _charges des affaires_, are those who are presented as such, either verbally or in writing, by heads of missions of the first, second or third rank to the minister for foreign affairs of the state to which they are accredited, when they leave their post temporarily, or pending the arrival of their successor. It is usual to appoint a counsellor or secretary of legation _charge d'affaires_. Some governments are accustomed to give the title of minister to such _charges d'affaires_, which ranks them with the other heads of legation. Essentially _charges d'affaires_ do not differ from ambassadors, envoys or ministers resident. They represent their nation, and enjoy the same privileges and immunities as other diplomatic agents (see DIPLOMACY).

CHARGING ORDER, in English law, an order obtained from a court or judge by a judgment creditor under the Judgment Acts 1838 and 1840, by which the property of the judgment debtor in any stocks or funds stands charged with the payment of the amount for which judgment shall have been recovered, with interest. A charging order can only be obtained in respect of an ascertained sum, but this would include a sum ordered to be paid at a future date. An order can be made on stock standing in the name of a trustee in trust for the judgment debtor, or on cash in court to the credit of the judgment debtor, but not on stock held by a debtor as a trustee. The application for a charging order is usually made by motion to a divisional court, though it may be made to a judge. The effect of the order is not that of a contract to pay the debt, but merely of an instrument of charge on the shares, signed by the debtor. An interval of six months must elapse before any proceedings are taken to enforce the charge, but, it necessary, a stop order on the fund and the dividends payable by the debtor can be obtained by the creditor to protect his interest A solicitor employed to prosecute any suit, matter or proceeding in any court, is entitled, on declaration of the court, to a charge for his costs upon the property recovered or preserved in such suit or proceeding. (See _Rules of the Supreme Court_, o. XLIX.)

CHARIBERT (d. 567), king of the Franks, was the son of Clotaire I. On Clotaire's death in 561 his estates were divided between his sons, Charibert receiving Paris as his capital, together with Rouen, Tours, Poitiers, Limoges, Bordeaux and Toulouse. Besides his wife, Ingoberga, he had unions with Merofleda, a wool-carder's daughter, and Theodogilda, the daughter of a neatherd. He was one of the most dissolute of the Merovingian kings, his early death in 567 being brought on by his excesses. (C. Pf.)

CHARIDEMUS, of Oreus in Euboea, Greek mercenary leader. About 367 B.C. he fought under the Athenian general Iphicrates against Amphipolis. Being ordered by Iphicrates to take the Amphipolitan hostages to Athens, he allowed them to return to their own people, and joined Cotys, king of Thrace, against Athens. Soon afterwards he fell into the hands of the Athenians and accepted the offer of Timotheus to re-enter their service. Having been dismissed by Timotheus (362) he joined the revolted satraps Memnon and Mentor in Asia, but soon lost their confidence, and was obliged to seek the protection of the Athenians. Finding, however, that he had nothing to fear from the Persians, he again joined Cotys, on whose murder he was appointed guardian to his youthful son Cersobleptes. In 357, on the arrival of Chares with considerable forces, the Chersonese was restored to Athens. The supporters of Charidemus represented this as due to his efforts, and, in spite of the opposition of Demosthenes, he was honoured with a golden crown and the franchise of the city. It was further resolved that his person should be inviolable. In 351 he commanded the Athenian forces in the Chersonese against Philip II. of Macedon, and in 349 he superseded Chares as commander in the Olynthian War. He achieved little success, but made himself detested by his insolence and profligacy, and was in turn replaced by Chares. After Chaeroneia the war party would have entrusted Charidemus[1] with the command against Philip, but the peace party secured the appointment of Phocion. He was one of those whose surrender was demanded by Alexander after the destruction of Thebes, but escaped with banishment. He fled to Darius III., who received him with distinction. But, having expressed his dissatisfaction with the preparations made by the king just before the battle of Issus (333), he was put to death.

See Diod. Sic. xvii. 30; Plutarch, _Phocion_, 16, 17; Arrian, _Anabasis_, i. 10; Quintus Curtius iii. 2; Demosthenes, _Contra Aristocratem_; A. Schafer, _Demosthenes und seine Zeit_ (1885).

FOOTNOTE:

[1] According to some authorities, this is a second Charidemus, the first disappearing from history after being superseded by Chares in the Olynthian war.

CHARING CROSS, the locality about the west end of the Strand and the north end of Whitehall, on the south-east side of Trafalgar Square, London, England. It falls within the bounds of the city of Westminster. Here Edward I. erected the last of the series of crosses to the memory of his queen, Eleanor (d. 1290). It stood near the present entrance to Charing Cross station of the South-Eastern & Chatham railway, in the courtyard of which a fine modern cross has been erected within a few feet of the exact site. A popular derivation of the name connected it with Edward's "dear queen" (_chere reine_), and a village of Cherringe or Charing grew up here later, but the true origin of the name is not known. There is a village of Charing in Kent, and the name is connected by some with that of a Saxon family, Cerring.