Chapter 16

Authorities,—Léon Gautier,Les Épopées françaises(4 vols., 1878-1894); Gaston Paris,La Littérature française au moyen âge(1890); Paul Meyer,Recherches sur l’épopée française(1867); G. Paris,Histoire poétique 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 orcantus firmusof the Roman Church seePlain-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,orChantaburi, the principal town of the Siamese province of the same name, on the E. side of the Gulf of Siam, in 102° 6′ E., 12° 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1905, when, in accordance with the provisions of the Franco-Siamese treaty of 1904, the garrison of occupation was withdrawn.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 Río de Chantada, a small right-hand tributary of the river Miño, 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 Miño 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 fromchanter, 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 asCantharellus 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 maythen 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 École Normale Supérieure. After teaching in the provinces he moved, in 1876, to the Lycée Charlemagne in Paris, and subsequently became professor of rhetoric at the Lycée Henri IV. andmaître de conferencesat the École Normale at Sèvres. He was associated with theNouvelle Revuefrom its foundation in 1879, and he joined theJournal des débatsin 1884. His poems includePoèmes sincères(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 château and its park (laid out originally by A. Le Nôtre in the second half of the 17th century), and as the scene of the great annual races of the French Jockey Club. The château consists of the palace built from 1876 to 1885 and of an older portion adjoining it known as the châtelet. 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 Condé. Louis II., prince de Condé, 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 Bruyère, Racine, Molière, 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 château and the châtelet, 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 château d’Enghien, facing the entrance to the grand château, 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 Condé, 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 château and in the style of the châtelet. 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 Volière, is surrounded by fosses supplied with water from the Nonette. On the terrace in front of the château there is a bronze statue of the constable Anne de Montmorency. The duc d’Aumale installed in the châtelet 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 château 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 £12,000. 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 paidwere 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 £300 and £50 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 £105,000 in 3% Consols, which (since reduced to 2½%) produces an available annual income varying from £2500 to £2100. 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 ofSir F. Leightonv.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 £68,000. Of these, 175 were in oil-colours, 12 in water-colours, and 16 sculptures (10 in bronze and 6 marble).

SeeThe 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), andIndex(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 Croï, who wrote about these forms of verse in hisArt et science de rhétorique(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. Étienne 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; hisChant royal chrestien, with its refrain

“Santé au corps, et Paradis à l’âme,”

was celebrated. Théodore 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 brightWith pale aerial flame, that drives up higherThe lurid mists which all the night long wereBreasting 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 flingTheir 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 discloseAnd 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 nightBrought dreams of bliss, vague dreams that haunt and tireWho 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 inspiréd 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 wingTremble with rapture, stirred in their repose,And deathless praises to the Vine-God sing.Envoi.Princeof the flute and ivy, all thy foesRecord 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.”

“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 inspiréd 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.

Princeof 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, atrouvèreof the 13th century. The chant royal is practically unknown outside French and English literature.

(E. G.)

CHANTRY(Fr.chanterie, fromchanter, 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 (seeFlight 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 EUGÈNE 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 becamechef de bataillonin 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 Tlemçen 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, seeFranco-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 £40,000 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 Châlons-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 ofLa Deuxième Armée 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 asTom Thumb,Jack the Giant Killer,Mother Shipton, andReynard 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 calledVulgaria; also four volumes of a smaller size, which he letteredPenny Witticisms, Penny Merriments, Penny ComplimentsandPenny 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 areJack the Giant Killer, Little Red Riding Hood, andMother 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, andL’Histoire des livres populaires ou de la littérature du colportageby Charles Nisard (1854) goes deeply into the subject. Amongst English books may be mentionedNotices 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,1a 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, modernchapelle, from the Late Lat.capelleorcappella, diminutive ofcappa, 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 calledcapellanus, 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 thechevetor 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. (SeeVault, Plate II., fig. 19.)

1The 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, heseems 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 theAdoneof Marini, who printed and published that notorious poem at Paris. This was followed by an excellent translation of Mateo Aleman’s novel,Guzmán 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 Abbé d’Aubignac, whosePratique du théâtreappeared in 1657. The theory had of course been enunciated in theArt poétiqueof 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 abbé 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 theSentiments de l’Académie sur le Cid. In 1656 he published, in a magnificent form, the first twelve cantos of his celebrated epicLa Pucelle,1on 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 poète Français qu’ ait jamais été 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 hisDe la lecture des vieux romans(pr. 1870), in which he praises thechansons 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 Ménage and Tallemant des Réaux, 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’sHistory of Criticism, ii. 256-261. An analysis ofLa Pucelleis given in pp. 23-79 of Robert Southey’sJoan of Arc. See alsoLes Lettres de Jean Chapelain(ed. P. Tanuzey de Larroque, 1880-1882);Lettres inédites ... à P.D. Huet(1658-1673, ed. by L.G. Pellissier, 1894); Julien Duchesne,Les Poèmes épiques du XVIIe siècle(1870); the abbé A. Fabre,Les Ennemis de Chapelain(1888),Chapelain et nos deux premières Académies(1890); and A. Muehlan,Jean Chapelain(1893).

1The last twelve cantos ofLa Pucellewere edited (1882) from the MS. with corrections and a preface in the author’s autograph, in theBibliothèque Nationale, by H. Herluison. Another edition, by E. de Molènes (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 (seeNorth 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 twoFeldprobste(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 isex officiobishop of the army.

The origin of the office ofcapellanusorcappellanusin 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 (cappaorcapella) 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 acappellaorcapella. It is also suggested that thecapellawas 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 namecapellanuswas generally applied to those who were in charge of sacred relics: such officials were also known ascustodes, martyrarii, cubicularii. Thus we hear of acustos palatinae capellaewho was in charge of the palace chapel relics, and guarded them in the field; the chief of thesecustodeswas sometimes called thearchicapellanus. From the care of sacred relics preserved in royal chapels, &c. (sacellaorcapellae), the office ofcapellanusnaturally 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)ParochialorAuxiliary 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 ofThe Whole Works of Homerstates that he was then (1616) fifty-seven years of age. Anthony à 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 inPalladis Tamiaamong 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 inThe Shadow of Nightof 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 duringthe following years, when his attention was chiefly occupied by hisHomer. In 1604 he was imprisoned with John Marston for his share inEastward 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 ofBironin 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 toThe White Devilpraised “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.

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