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Rh The exports from Callao are guano, sugar, cotton, wool, hides, silver, copper, gold and forest products, and the imports include timber and other building materials, cotton and other textiles, general merchandise for personal, household and industrial uses, railway material, coal, kerosene, wheat, flour and other food stuffs. The maintenance of peace and order, and the mining development of the interior, have added to the trade and prosperity of the port.

The history of Callao has been exceptionally eventful. It was founded in 1537, two years after Pizarro had founded Lima. As the port of that capital and the only open port below Panama it grew rapidly in importance and wealth. It was raised to the dignity of a city in 1671. The appearance of Sir Francis Drake in the bay in 1578 led to the fortification of the port, which proved strong enough to repel an attack by the Dutch in 1624. The city was completely destroyed and partly submerged by the great earthquake of the 28th of October 1746, in which about 6000 persons perished. The new city was strongly fortified and figured prominently in the struggle for independence, and also in the various revolutions which have convulsed the republic. Its political autonomy dates from 1836, when it was made a coast department. The Callao fortifications were bombarded by a Spanish fleet under Admiral Mendez Nuñez on the 2nd of May 1866, when there were heavy losses both in lives and material. Again, in 1880, the city was bombarded by the Chileans, though it was almost defenceless, and fell into the possession of the invaders after the capture of Lima in the following year. Before the surrender all the Peruvian naval vessels in the harbour were sunk, to prevent their falling into the possession of the enemy.

 CALLCOTT, SIR AUGUSTUS WALL (1779–1844), English landscape painter, was born at Kensington in 1779 and died there in 1844. His first study was music; and he sang for several years in the choir of Westminster Abbey. But at the age of twenty he had determined to give up music, and had exhibited his first painting at the Royal Academy. He gradually rose to distinction, and was elected an associate in 1807 and an academician in 1810. In 1827 he received the honour of knighthood; and, seven years later, was appointed surveyor of the royal pictures. His two principal subject pictures—“Raphael and the Fornarina,” and “Milton dictating to his Daughters,” are much inferior to his landscapes, which are placed in the highest class by their refined taste and quiet beauty.

His wife,, Lady Callcott (1786–1844), whom he married in 1827, was a daughter of Admiral Dundas and widow of Captain Thomas Graham, R.N. (d. 1822). With her first husband she travelled in India, South Africa and South America, where she acted for some time as teacher of Donna Maria, who became queen of Portugal in 1826; and in the company of her second husband she spent much time in the south of Europe. She published accounts of her visits to India (1812), and to the environs of Rome (1820); Memoirs of Poussin (1820); a History of France; a History of Spain (1828); Essays toward a History of Painting (1836); Little Arthur’s History of England (1836); and the Scripture Herbal (1842).

 CALLCOTT, JOHN WALL (1766–1821), English musician, brother of Sir Augustus Callcott, was born at Kensington on the 20th of November 1766. At the age of seven he was sent to a neighbouring day-school, where he continued for five years, studying chiefly Latin and Greek. During this time he frequently went to Kensington church, in the repairs of which his father was employed, and the impression he received on hearing the organ of that church seems to have roused his love for music. The organist at that time was Henry Whitney, from whom Callcott received his first musical instruction. He did not, however, choose music as a profession, as he wished to become a surgeon. But on witnessing a surgical operation he found his nervous system so seriously affected by the sight, that he determined to devote himself to music. His intimacy with Dr Arnold and other leading musicians of the day procured him access to artistic circles; he was deputy organist at St George the Martyr, Queen Square, Bloomsbury, from 1783 to 1785, in which year his successful competition for three out of the four prize medals offered by the “Catch Club” soon spread his reputation as composer of glees, catches, canons and other pieces of concerted vocal music. The compositions with which he won these medals were—the catch “O beauteous fair,” the canon “Blessed is he,” and the glee “Dull repining sons of care.” In these and other similar compositions he displays considerable skill and talent, and some of his glees retain their popularity at the present day. In 1787 Callcott helped Dr Arnold and others to form the “Glee Club.” In 1789 he became one of the two organists at St Paul’s, Covent Garden, and from 1793 to 1802 he was organist to the Asylum for Female Orphans. As an instrumental composer Callcott never succeeded, not even after he had taken lessons from Haydn. But of far greater importance than his compositions are his theoretical writings. His Musical Grammar, published in 1806 (3rd ed., 1817), was long considered the standard English work of musical instruction, and in spite of its being antiquated when compared with modern standards, it remains a scholarly and lucid treatment of the rudiments of the art. Callcott was a much-esteemed teacher of music for many years. In 1800 he took his degree of Mus.D. at Oxford, where fifteen years earlier he had received his degree of bachelor of music, and in 1805 he succeeded Dr Crotch as musical lecturer at the Royal Institution. Towards the end of his life his artistic career was twice interrupted by the failure of his mental powers. He died at Bristol after much suffering on the 15th of May 1821. A posthumous collection of his most favourite vocal pieces was published in 1824 with a memoir of his life by his son-in-law, William Horsley, himself a composer of note.

Callcott’s son, (1807–1882), inherited to a large extent the musical gifts of his father. His song, “The last man,” and his anthem, “Give peace in our time, O Lord,” were his best-known compositions.

 CALLIAS, tyrant of Chalcis in Euboea. With the assistance of Philip II. of Macedon, which he hoped to obtain, he contemplated the subjugation of the whole island. But finding that Philip was unwilling to help him, Callias had recourse to the Athenians, although he had previously (350 ) been engaged in hostilities with them. With the support of Demosthenes, he was enabled to conclude an alliance with Athens, and the tribute formerly paid by Eretria and Oreus to Athens was handed over to him. But his plan of uniting the whole of Euboea under his rule, with Chalcis as capital, was frustrated by Philip, who set up tyrants chosen by himself at Eretria and Oreus. Subsequently, when Philip’s attention was engaged upon Thrace, the Athenians in conjunction with Callias drove out these tyrants, and Callias thus became master of the island (Demosthenes, De Pace, p. 58; Epistola Philippi, p. 159; Diod. Sic. xvi. 74). At the end of his life he appears to have lived at Athens, and Demosthenes proposed to confer the citizenship upon him (Aeschines, Contra Ctesiphontem, 85, 87).

 CALLIAS and HIPPONICUS, two names borne alternately by the heads of a wealthy and distinguished Athenian family. During the 5th and 4th centuries the office of daduchus or torch-bearer at the Eleusinian mysteries was the hereditary privilege of the family till its extinction. The following members deserve mention.

1., the second of the name, fought at the battle of Marathon (490) in priestly attire. Some time after the death of Cimon, probably about 445, he was sent to Susa to conclude with Artaxerxes, king of Persia, a treaty of peace afterwards misnamed the “peace of Cimon.” Cimon had nothing to do with it, and he was totally opposed to the idea of peace with Persia (see ). At all events Callias’s mission does not seem to have been successful; he was indicted for high treason on his return to Athens and sentenced to a fine of fifty talents.

See Herodotus vii. 151; Diod. Sic. xii. 4; Demosthenes, De Falsa Legatione, p. 428; Grote recognizes the treaty as a historical fact, History of Greece, ch. xlv., while Curtius, bk. iii. ch. ii., denies the conclusion of any formal treaty; see also Ed. Meyer, Forschungen, ii.; J. B. Bury in Hermathena, xxiv. (1898).

2., son of the above. Together with Eurymedon he commanded the Athenian forces in the incursion into Boeotian territory (426 ) and was slain at the battle of Delium (424). 