Page:Catholic Encyclopedia, volume 3.djvu/780

 CHORON

696

CHRISM

bee, 30 October, 1723. Cholonec entered the Society of Jesus in Paris, 8 October, 1659, and taught in the col- leges of Moulinsand Eu from 1661 to 1670, except three years spent at La Fleche in the study of philosophy. After four years of theology in Paris, he departed for Canada in August, 1674. For many years he was stationed among the Indians at St. Francis Xavier du Sault, where the saintly Indian maiden Catherine Tegakwitha died. Father Cholonec wrote her life which was published in the "Lettres 6difiantes" (1781), VI, 40-100; (1839), I, 647-662. A transla- tion is given in Kip, "Jesuit Missions" (New York, 1846), I, 79, 116; but this is only an abridgment of a more extended biography preserved in the archives of the Jesuits in Montreal. In later years Cholonec was superior of the Jesuit residence in Montreal.

Sommervogel. Bibl. delac.de J., II. 1153: IX, 39; Thwaitek, Jesuit Relations (Cleveland, 1896-1901), LIX, 315- 316; LXII. 158; Shea, Catholic Church in Colonial Days (New York, 1886), 309.

E. P. Spillane.

Choron, Alexandre-Etienne, French musician and teacher of music, b. at Caen, 21 October, 1772: d. 29 June, 1834. Being denied by his father the per- mission to study music under proper guidance, he nevertheless endeavoured to master the theories of J.-P. Rameau and his school. Later he received in- struction in harmony for a short time, from the Abb6 Roze and Bonesi. Through Bonesi, Choron became acquainted with the treatise of Nicolo Sala (1701-1800) on fugue and counterpoint, and with Italian musical art in general. The result was his work " Principes d'accompagnement des ecoles d'ltalie". In order to acquire thoroughly the science of Kirnberger, Mar- purg, and Albrechtsberger, he studied the German language. Thus equipped, Choron entered upon his wonderful career of reform in all branches of musical activity. In 1811, he was entrusted by the Govern- ment with the important task of reorganizing the more important church choirs of Paris and other cities and of directing the musical performances on solemn public and religious occasions. In 1816 Cho- ron became musical director of the Grand Opera, but this engagement lasted only one year, on account of the unpopularity of his endeavours towards reform. He now brought about the reopening, under the name of "Ecole royale de Chant et de Declamation", of the Conservatoire, which had been closed in 1815. In 1817 Choron founded the " Institution royale de Musique classique et religieuse", which was sub- sidized by the Government and was destined to exert a far-reaching influence through the distinguished musicians it produced and its publication and per- formance of important choral works, especially those of Palestrina, Bach, and Handel. By the with- drawal of the Government subsidy on the death of Charles X, the school's efficiency was crippled. This caused such disappointment to Choron that he did not long survive.

Besides accomplishing all this work, Choron pub- lished, in collaboration with Francois-Joseph-Marie Fayolle (1774-1S52), "Dictionaire historique des musiciens", "M<5thode eJementaire de musique et de plain chant", a revised and enlarged edition of Fran- coeurs' "Traits general des voix et des instruments d'orchestre", translations of theoretical works by Albrechtsberger : i t i < 1 Azopardi, " Methode concertante a plusieurs voix" (which treatise formed the basis of instruction in Choron's school), "Mcithode de plain chant", "Manuel complet de musique vocale et in- strumentale", and an " Encyclopedic musicale" in eight volumes. Choron's school was afterward re- vived, as the "Ecole Niedermeyer", by Louis Nieder- meyer (1802-61), who, by means of a small Govern- ment subsidy, succeeded in keeping alive Choron's principles and tradition.

Choron's principal service to musical art in France

consists in having trained and purified French taste. Through him and men like Louis Niedermeyer and Joseph d'Ortigue there gradually developed among musicians that appreciation of the essential dif- ference between sacred music and profane music — between music of the Church and music of the theatre — which finally culminated in the foundation of the now flourishing "Schola Cantorum" and the famous association " Les Chant eurs de Saint-Gervais". Both institutions were founded by Charles Bordes and became the principal agencies in France for the real- ization of the aims of Pope Pius X in regard to the reform of church music.

Lahodsse, Dictionnaire unirerscl (Paris, 1865). IV, 194; Rie.mann. Musiklexikon (Leipzig, 1905), 232; Grove. Dic- tionary of Music (New York, 1904), I, 531, 532.

Joseph Otten. Chosroes. See Khosru.

Chrism, a mixture of oil of olives and balsam, blessed by a bishop in a special manner and used in the administration of certain sacraments and in the performance of certain ecclesiastical functions. That chrism may serve as valid matter for the Sacrament of Confirmation it must consist of pure oil of olives, and it must be blessed by a bishop, or at least by a priest delegated by the Holy See. These two conditions are certainly necessary for validity; moreover it is probable that there should be an admixture of balsam, and that the blessing of the chrism should be special, in the sense that it ought to be different from that which is given to the oil of the sick or the oil of catechumens. (Cf. Lehmkuhl, Cas. Cons. II, n. 102.) If either of the last two con- ditions is wanting the sacrament, will be doubtfully valid. To deal with the subject in a sufficiently ex- haustive manner, it will be enough to touch upon (1) the origin and antiquity of chrism; (2) its constit- uent nature; (3) its blessing; and (4) its use and symbolical significance.

(1) Origin. — In its primitive meaning the word chrism, like the Greek xp'^mo, was used to designate any and every substance that served the purpose of smearing or anointing, such as the various kinds of oils, unguents, and pigments. This was its ordinary signification in profane literature, and even in the early patristic writings. Gradually however, in the writings of the Fathers at all events, the term came to be restricted to that special kind of oil that was used in religious ceremonies and fimctions, especially in the administration of the Sacraments of Baptism and Con- firmation. Thus Origen refers to the visible chrism in which we have all been baptized: St. Ambrose venerates in the chrism the oil of grace which makes kings and priests; and St. Cyril of Jerusalem celebrates the praises of the mystic chrism (cf. Diet. de theol. cath.. s. v. Chreme, where many refereni es are given topatristic passages in which the word occurs). The early councils of the Church have also references to chrism as something set apart for sacred purposes and making for the sanctification of men. Thus the Council of Constantinople held in 3S1 (Can. vii) ami the Council of Toledo, 398 (Can. x). Regarding the institution of chrism, or its introduction into the sacramental and ceremonial system of the Church, some theologians like St. Thomas (Sum., III. Q. lxxii. a. 4) and Suarez (De Conf., I), xxxiii) hold that it was instituted immediately by Christ, while others contend that it is altogether of ecclesiastical origin. Eugene IV, in his famous "Instruction for the Ar- menians" (Bull "Exultate Deo", apud Denzinger, "Enchiridion", p. 160), asserts that chrism is the matter of the Sacrament of Confirmation, and, indeed, this opinion is so certain thai it may not be denied without incurring some note of theological eensun-. (Cf. Catechism of the Council of [Vent, PI II,c.iii,q. 7.) All that the Council of Trent has defined in this con- nexion is that they who attribute a certain spiritual