Part 17

1. _Steward and Bailiff of the Chiltern Hundreds, County Bucks._--The Chiltern Hundreds formed a bailiwick of the ordinary type. They are situated on the Chiltern Hills, and the depredations of the bandits, who found shelter within their recesses, became at an early period so alarming that a special officer, known as the steward of the Chiltern Hundreds, was appointed for the protection of the inhabitants of the neighbouring districts. It is doubtful at what date the necessity for such an appointment disappeared, but the three hundreds of Stoke, Burnham and Desborough are still distinguished by the old name. The appointment of steward was first used for parliamentary purposes in 1750, the appointment being made by the chancellor of the exchequer (and at his discretion to grant or not), and the warrant bestowing on the holder "all wages, fees, allowances and other privileges and pre-eminences." Up to the 19th century there was a nominal salary of 20s. attached to the post. It was laid down in 1846 by the chancellor of the exchequer that the Chilterns could not be granted to more than one person in the same day, but this rule has not been strictly adhered to, for on four occasions subsequent to 1850 the Chilterns were granted twice on the same day. The Chilterns might be granted to members whether they had taken the oath or not, or during a recess, though in this case a new writ could not be issued until the House met again. Each new warrant expressly revoked the grant to the last holder, the new steward retaining it in his turn until another should be appointed.

2. _Steward and Bailiff of the Manor of East Hundred, or Hendred, Berks._--This stewardship was first used for parliamentary purposes in 1763, and was in more or less constant use until 1840, after which it disappeared. This manor comprised copyholds, the usual courts were held, and the stewardship was an actual and active office, the duties being executed by a deputy steward. The manor was sold by public auction in 1823 for £910, but in some manner the crown retained the right of appointing a steward for seventeen years after that date.

3. _Steward and Bailiff of the Manor of Northstead, Yorkshire._--This manor was crown property before 1750, but was in lease until 1838. It has no copyhold lands, nor are there any records of manor courts. There are no traces of any profits having ever been derived from the office. It was used for parliamentary purposes in 1844 and subsequently.

4. _Steward of the Manor of Hempholme, Yorkshire._--This manor appears to have been of the same nature as that of Northstead. It was in lease until 1835. It was first used for parliamentary purposes in 1845 and was in constant use until 1865. It was sold in 1866.

5. _Escheator of Munster._--Escheators were officers commissioned to secure the rights of the crown over property which had legally escheated to it. In Ireland mention is made of escheators as early as 1256. In 1605 the escheatorship of Ireland was split up into four, one for each province, but the duties soon became practically nominal. The escheatorship of Munster was first used for parliamentary purposes in the Irish parliament from 1793 to 1800, and in the united parliament (24 times for Irish seats and once for a Scottish seat) from 1801 to 1820. After 1820 it was discontinued and finally abolished in 1838.

6. _Steward of the Manor of Old Shoreham, Sussex._--This manor belonged to the duchy of Cornwall, and it is difficult to understand how it came to be regarded as a crown appointment. It was first used for parliamentary purposes in 1756, and then, occasionally, until 1799, in which year it was sold by the duchy to the duke of Norfolk.

7. _Steward of the Manor of Poynings, Sussex._--This manor reverted to the crown on the death of Lord Montague about 1804, but was leased up to about 1835. It was only twice used for parliamentary purposes, in 1841 and 1843.

8. _Escheator of Ulster._--This appointment was used in the united parliament three times, for Irish seats only; the last time in 1819.

See parliamentary paper--_Report from the Select Committee on House of Commons (Vacating of Seats)_ (1894). (T.A.I.)

CHILWA (incorrectly SHIRWA), a shallow lake in south-east Africa, S.S.E. of Lake Nyasa, cut by 35°20'E., and lying between 15° and 15°35'S. The lake is undergoing a process of desiccation, and in some dry seasons (as in 1879 and 1903) the "open water" is reduced to a number of large pools. Formerly the lake seems to have found an outlet northwards to the Lujenda branch of the Rovuma, but with the sinking of its level it is now separated from the Lujenda by a wooded ridge some 30 to 40 ft. above the surrounding plains. There are four islands, the largest rising 500 ft. above the water. The lake was discovered by David Livingstone in 1859 and was by him called Shirwa, from a mishearing of the native name.

CHIMAERA, in Greek mythology, a fire-breathing female monster resembling a lion in the fore part, a goat in the middle, and a dragon behind (_Iliad_, vi. 179), with three heads corresponding. She devastated Caria and Lycia until she was finally slain by Bellerophon (see H.A. Fischer, _Bellerophon_, 1851). The origin of the myth was the volcanic nature of the soil of Lycia (Pliny, _Nat. Hist._ ii. 110; Servius on _Aeneid_, vi. 288), where works have been found containing representations of the Chimaera in the simple form of a lion. In modern art the Chimaera is usually represented as a lion, with a goat's head in the middle of the back, as in the bronze Chimaera of Arezzo (5th century). The word is now used generally to denote a fantastic idea or fiction of the imagination.

CHIMAY, a town in the extreme south-east of the province of Hainaut, Belgium, dating from the 7th century. Pop. (1904) 3383. It is more commonly spoken of as being in the district _entre Sambre et Meuse_. Owing to its proximity to the French frontier it has undergone many sieges, the last of which was in 1640, when Turenne gave orders that it should be reduced to such ruin that it could never stand another. The town is chiefly famous for the castle and park that bear its name. Originally a stronghold of the Cröy family, it has passed through the D'Arenbergs to its present owners, the princes of Caraman-Chimay. The castle, which before Turenne's order to demolish it possessed seven towers, has now only one in ruins, and a modern château was built in the Tudor style in the 18th century. This domain carried with it the right to one of the twelve peerages of Hainaut. Madame Tallien, daughter of Dr Cabarrus, the Lady of Thermidor, married as her second husband the prince de Chimay, and held her little court here down to her death in 1835. There is a memorial to her in the church, which also contains a fine monument of Phillippe de Cröy, chamberlain and comrade in arms of the emperor Charles V. John Froissart the chronicler died and was buried here. There is a statue in his honour on the Grand Place. Chimay is situated on a stream called the White Water, which in its lower course becomes the Viroin and joins the Meuse.

CHIME, (1) (Probably derived from a mistaken separation into two words, _chimbe bell_, of _chymbal_ or _chymbel_, the old form of "cymbal," Lat. _cymbalum_), a mechanical arrangement by which a set of bells in a church or other tower, or in a clock, are struck so as to produce a sequence of musical sounds or a tune. For the mechanism of such an arrangement in a clock and in a set of bells, see the articles CLOCK and BELL. The word is also applied to the tune thus played by the bells and also to the harmonious "fall" of verse, and so, figuratively, to any harmonious agreement of thought or action. (2) (From Mid. Eng. _chimb_, a word meaning "edge," common in varied forms to Teutonic languages, cf. Ger. _Kimme_), the bevelled rim formed by the projecting staves at the ends of a cask.

CHIMERE (Lat. _chimera, chimaera_; O. Fr. _chamarre_, Mod. Fr. _simarre_; Ital. _zimarra_; cf. Span. _zamarra_, a sheepskin coat; possibly derived ultimately from Gr. [Greek: cheimerios], "wintry," i.e. a winter overcoat), in modern English use the name of a garment worn as part of the ceremonial dress of Anglican bishops. It is a long sleeveless gown of silk or satin, open down the front, gathered in at the back between the shoulders, and with slits for the arms. It is worn over the rochet (q.v.), and its colour is either black or scarlet (convocation robes). By a late abuse the sleeves of the rochet were, from motives of convenience, sometimes attached to the chimere. The origin of the chimere has been the subject of much debate; but the view that it is a modification of the cope (q.v.) is now discarded, and it is practically proved to be derived from the medieval tabard (_tabardum, taberda_ or _collobium_), an upper garment worn in civil life by all classes of people both in England and abroad. It has therefore a common origin with certain academic robes (see ROBES, § _Academic dress_).

The word "chimere," which first appears in England in the 14th century, was sometimes applied not only to the tabard worn over the rochet, but to the sleeved cassock worn under it. Thus Archbishop Scrope is described as wearing when on his way to execution (1405) a blue chimere with sleeves. But the word properly applies to the sleeveless tabard which tended to supersede, from the 15th century onwards, the inconvenient _cappa clausa_ (a long closed cloak with a slit in front for the arms) as the out-of-doors upper garment of bishops. These chimeres, the colours of which (murrey, scarlet, green, &c.) may possibly have denoted academical rank, were part of the civil costume of prelates. Thus in the inventory of Walter Skirlawe, bishop of Durham (1405-1406), eight chimeres of various colours are mentioned, including two for riding (_pro equitatura_). The chimere was, moreover, a cold weather garment. In summer its place was taken by the tippet.

In the Anglican form for the consecration of bishops the newly consecrated prelate, hitherto vested in rochet, is directed to put on "the rest of the episcopal habit," i.e. the chimere. The robe has thus become in the Church of England symbolical of the episcopal office, and is in effect a liturgical vestment. The rubric containing this direction was added to the Book of Common Prayer in 1662; and there is proof that the development of the chimere into at least a choir vestment was subsequent to the Reformation. Foxe, indeed, mentions that Hooper at his consecration wore "a long scarlet chymere down to the foot" (_Acts and Mon._, ed. 1563, p. 1051), a source of trouble to himself and of scandal to other extreme reformers; but that this was no more than the full civil dress of a bishop is proved by the fact that Archbishop Parker at his consecration wore surplice and tippet, and only put on the chimere, when the service was over, to go away in. This civil quality of the garment still survives alongside the other; the full dress of an Anglican prelate at civil functions of importance (e.g. in parliament, or at court) is still rochet and chimere.

The continental equivalent of the chimere is the _zimarra_ or _simarre_, which is defined by foreign ecclesiologists (Moroni, Barbier de Montault) as a kind of _soutane_ (cassock), from which it is distinguished by having a small cape and short, open arms (_manches-fausses_) reaching to the middle of the upper arm and decorated with buttons. In France and Germany it is fitted more or less to the figure; in Italy it is wider and falls down straight in front. Like the _soutane_, the _zimarra_ is not proper to any particular rank of clergy, but in the case of bishops and prelates it is ornamented with red buttons and bindings. It never has a train (_cauda_). It is not universally worn, e.g. in Germany apparently only by prelates. G. Moroni identifies the _zimarra_ with the _epitogium_ which Domenico Magri, in his _Hierolexicon_ (ed. 1677), calls the uppermost garment of the clergy, worn over the _soutane_ (_toga_) instead of the _mantellum_ (_vestis suprema clericorum loco pallii_), with a cross-reference to _Tabardum_, the "usual" upper garment (_pallium usuale_); and this definition is repeated in the 8th edition of the work (1732). From this it appears that so late as the middle of the 18th century the _zimarra_ was still in common use as an out-of-doors overcoat. But, according to Moroni, by the latter half of the 19th century the _zimarra_, though still worn by certain civilians (e.g. notaries and students), had become in Italy chiefly the domestic garment of the clergy, notably of superiors, parish priests, rectors, certain regulars, priests of congregations, bishops, prelates and cardinals. It was worn also by the Roman senators, and is still worn by university professors. A black _zimarra_ lined with white, and sometimes ornamented with a white binding and gold tassels, is worn by the pope.

More analogous to the Anglican chimere in shape, though not in significance, is the purple _mantelletum_ worn over the rochet by bishops, and by others authorized to wear the episcopal insignia, in presence of the pope or his legates. This symbolizes the temporary suspension of the episcopal jurisdiction (symbolized by the rochet) so long as the pope or his representative is present. Thus at the Curia cardinals and prelates wear the _mantelletum_, while the pope wears the _zimarra_, and the first act of the cardinal camerlengo after the pope's death is to expose his rochet by laying aside the _mantelletum_, the other cardinals following his example, as a symbol that during the vacancy of the papacy the pope's jurisdiction is vested in the Sacred College. On the analogy of the _mantelletum_ certain Anglican prelates, American and colonial, have from time to time appeared in purple chimeres; which, as the Rev. N.F. Robinson justly points out, is a most unhappy innovation, since it has no historical justification, and its symbolism is rather unfortunate.

AUTHORITIES.--See the _Report_ of the sub-committee of Convocation on the ornaments of the church and its ministers, p. 31 (London, 1908); the Rev. N.F. Robinson, "The black chimere of Anglican Prelates: a plea for its retention and proper use," in _Transactions of the St Paul's Ecclesiological Soc._ vol. iv. pp. 181-220 (London, 1898); Herbert Druitt, _Costume on Brasses_ (London, 1906); G. Moroni, _Dizionario dell' erudizione storico-ecclesiastica_ (Venice, 1861), vol. 103, s.v. "Zimarra": X. Barbier de Montault, _Traité pratique de la construction, &c., des églises_, ii. 538 (Paris, 1878). (W. A. P.)

CHIMESYAN (_Tsimshian_), a tribe of North American Indians, now some 3000 in number, living around the mouth of the Skeena river, British Columbia, and on the islands near the coast. They are a powerfully built people, who tattoo and wear labrets and rings in noses and ears. They are skilful fishermen, and live in large communal houses. They are divided into clans and distinct social orders.

CHIMKENT, a town of Asiatic Russia, in the province of Syr-darya, 70 m. by rail N.N.E. of Tashkent. Pop. (1897) 10,756, mostly Sarts. It occupies a strategical position at the west end of the valley between the Alexander range and the Ala-tau (or Talas-tau), at the meeting of commercial routes from (1) Vyernyi and Siberia beyond, from the north-east, (2) the Aral Sea and Orenburg (connected with it by rail since 1905) to the north-west, and (3) Ferghana and Bokhara to the south. The citadel, which was stormed by the Russians in 1864, stands on high ground above the town, but is now in ruins. Chimkent is visited by consumptive patients who wish to try the koumiss cure. It has cotton mills and soap-works.

CHIMNEY (through the Fr. _cheminée_, from _caminata_, sc. _camera_, a Lat. derivative of _caminus_, an oven or furnace), in architecture, that portion of a building, rising above the roof, in which are the flues conveying the smoke to the outer air. Originally the term included the fireplace as well as the chimney shaft. At Rochester Castle (1130) and Heddington, Essex, there were no external chimney shafts, and the flue was carried through the wall at some height above the fireplace. In the early examples the chimney shaft was circular, with one flue only, and was terminated with a conical cap, the smoke issuing from openings in the side, which at Sherborne Abbey (A.D. 1300) were treated decoratively. It was not till the 15th century that the smoke issued at the top, and later in the century that more than one flue was carried up in the same shaft. There are a few examples of the clustered shaft in stone, but as a rule they are contemporaneous with the general use of brick. The brick chimney shafts, of which there are fine specimens at Hampton Court, were richly decorated with chevrons and other geometrical patterns. One of the best examples is that at Thornton Castle, Gloucestershire.

In the 15th and 16th centuries in France the chimney shaft was recognized as an important architectural feature, and was of considerable elevation in consequence of the great height of the roofs. In the château of Meillant (1503) the chimney shafts are decorated with angle buttresses, niches and canopies, in the late Flamboyant style; and at Chambord and Blois they are carved with pilasters and niches with panelling above, carved with the salamander and other armorial devices. In the Roman palaces they are sometimes masked by the balustrades, and (when shown) take the form of sepulchral urns, as if to disguise their real purpose. Though not of a very architectural character, the chimneys at Venice present perhaps the greatest variety of terminations, and as a rule the smoke comes out on the sides and not through the top. (R. P. S.)

_Factory Chimneys_.--Chimneys, besides removing the products of combustion, also serve to provide the fire with the air requisite for burning the fuel. The hot air in the shaft, being lighter than the cold air outside it, tends to rise, and as it does so air flows in at the bottom to take its place. An ascending current is thus established in the chimney, its velocity, other things being equal, varying as the square root of the height of the shaft above the grate. The velocity also increases with increase of temperature in the gas column, but since the weight of each cubic foot grows less as the gases expand, the amount of smoke discharged by a chimney does not increase indefinitely with the temperature; a maximum is reached when the difference in temperature between the gases in the shaft and the outside air is about 600° F., but the rate of increase is very slow after the difference has passed about 300° F. In designing a chimney the dimensions (height and sectional area) have to be so proportioned to the amount of fuel to be burnt in the various furnaces connected with it that at the temperature employed the products of combustion are effectively removed, due allowance being made for the frictional retardation of the current against the sides of the flues and shafts and in passing through the fire. The velocity of the current in actual chimneys varies widely, from 3 or 4 to 50 or 60 ft. a second. Increased velocity, obtainable by increasing the height of the shaft, gives increased delivering capacity, but a speed of 10 or 12 ft. a second is regarded as good practice. Ordinary factory chimneys do not in general exceed 180 or 200 ft. in height, but in some cases, especially when, as in chemical works, they are employed to get rid of objectionable vapours, they have been made double that height, or even more. In section they are round, octagonal or square. The circular form offers the least resistance to wind pressure, and for a given height and sectional area requires less material to secure stability than the octagonal and still less than the square; on the other hand, there is more liability to cracking. Brick is the material commonly used, but many chimneys are now made of iron or steel. Reinforced concrete is also employed.

CHIMNEYPIECE, the term given to the projecting hood which in medieval times was built over a fireplace to catch the smoke, and at a later date to the decorative framework, often carried up to the ceiling. "Chimneypiece" or "mantelpiece" is now the general term for the jambs, mantelshelf and external accessories of a fireplace. For many centuries the chimneypiece was the most ornamental and most artistic feature of a room, but as fireplaces have become smaller, and modern methods of heating have been introduced, its artistic as well as its practical significance has grown less.

Up to the 12th century rooms were warmed entirely by a hypocaust, or with braziers, or by fires on the hearth, the smoke finding its way up to a lantern in the roof. The earliest chimneypiece known is that in the King's House at Southampton, with Norman shafts in the joints carrying a segmental arch, which is attributed to the first half of the 12th century. At a later date, in consequence of the greater width of the fireplace, flat or segmental arches were thrown across and constructed with voussoirs, sometimes joggled, the thrust of the arch being resisted by bars of iron at the back. In domestic work of the 14th century the chimneypiece was greatly increased in order to allow of the members of the family sitting on either side of the fire on the hearth, and in these cases great beams of timber were employed to carry the hood; in such cases the fireplace was so deeply recessed as to become externally an important architectural feature, as at Haddon Hall. The largest chimneypiece existing is in the great hall of the Palais des Comtes at Poitiers, which is nearly 30 ft. wide, having two intermediate supports to carry the hood; the stone flues are carried up between the tracery of an immense window above. In the early Renaissance style, the chimneypiece of the Palais de Justice at Bruges is a magnificent example; the upper portion, carved in oak, extends the whole width of the room, with statues of nearly life size of Charles V. and others of the royal family of Spain. The most prolific modern designer of chimneypieces was J.B. Piranesi, who in 1765 published a large series, on which at a later date the Empire style in France was based. In France the finest work of the early Renaissance period is to be found in the chimneypieces, which are of infinite variety of design.

The English chimneypieces of the early 17th century, when the purer Italian style was introduced by Inigo Jones, were extremely simple in design, sometimes consisting only of the ordinary mantelpiece, with classic architraves and shelf, the upper part of the chimney breast being panelled like the rest of the room. In the latter part of the century the classic architrave was abandoned in favour of a much bolder and more effective moulding, as in the chimneypieces at Hampton Court, and the shelf was omitted.