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 1502, and was opened for traffic with Panama, on the Pacific coast, by way of the Chagres river, in the 16th century. With the decline of Porto Bello in the 18th century Chagres became the chief Atlantic port of the Isthmus, and was at the height of its importance during the great rush of gold-hunters across the Isthmus to California in 1849 and the years immediately following. With the completion of the Panama railway in 1855, however, travel was diverted to Colon, and Chagres soon became a village of miserable huts, with no evidence of its former importance. On a high rock at the mouth of the river stands the castle of Lorenzo, which was destroyed by Sir Henry Morgan when he captured the town in 1671, but was rebuilt soon afterwards by the Spaniards. Chagres was again captured in 1740 by British forces under Admiral Edward Vernon.

 CHAIN (through the O. Fr. choeine, choene, &c., from Lat. catena), a series of links of metal or other material so connected together that the whole forms a flexible band or cord. Chains are used for a variety of purposes, such as fastening, securing, or connecting together two or more objects, supporting or lifting weights, transmitting mechanical power, &c.; or as an ornament to serve as a collar, as a symbol of office or state, or as part of the insignia of an order of knighthood; or as a device from which to hang a jewelled or other pendant, a watch, &c. (see ). Ornamental chains are made with a great variety of links, but those intended for utilitarian purposes are mostly of two types. In stud chains a stud or brace is inserted across each link to prevent its sides from collapsing inwards under strain, whereas in open link chains the links have no studs. The addition of studs is reckoned to increase the load which the chain can safely bear by 50%. Small chains of the open-link type are to a great extent made by machinery. For larger sizes the smith cuts off a length of iron rod of suitable diameter, forms it while hot to the shape of the link by repeated blows of his hammer, and welds together the two ends of the link, previously slipped inside its fellow, by the aid of the same tool; in some cases the bending is done in a mechanical press and the welding under a power hammer (see also ). Weldless chains are also made; in A. G. Strathern’s process, for instance, cruciform steel bars are pressed, while hot, into links, each without join and engaging with its neighbours. Chains used for transmitting power are known as pitch-chains; the chain of a (q.v.) is an example.

From the use of the chain as employed to bind or fetter a prisoner or slave, comes the figurative application to anything which serves as a constraining or restraining force; and from its series of connected links, to any series of objects, events, arguments, &c., connected by succession, logical sequence or reasoning. Specific uses are for a measuring line in land-surveying, consisting of 100 links, i.e. iron rods, 7.92 in. in length, making 22 yds. in all, hence a lineal measure of that length; and, as a nautical term, for the contrivance by which the lower shrouds of a mast are extended and secured to the ship’s sides, consisting of dead-eyes, chain-plates, and chain-wale or “channel.”

 CHAIR (in. Mid. Eng. choere, through O. Fr. chaëre or chaiere, from Lat. cathedra, later caledra, Gr. , seat, cf. “cathedral”; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire in French is still used of a professorial or ecclesiastical “chair,” or cathedra), a movable seat, usually with four legs, for a single person, the most varied and familiar article of domestic furniture. The chair is of extreme antiquity, although for many centuries and indeed for thousands of years it was an appanage of state and dignity rather than an article of ordinary use. “The chair” is still extensively used as the emblem of authority in the House of Commons and in public meetings. It was not, in fact, until the 16th century that it became common anywhere. The chest, the bench and the stool were until then the ordinary seats of everyday life, and the number of chairs which have survived from an earlier date is exceedingly limited; most of such examples are of ecclesiastical or seigneurial origin. Our knowledge of the chairs of remote antiquity is derived almost entirely from monuments, sculpture and paintings. A few actual examples exist in the British Museum, in the Egyptian museum at Cairo, and elsewhere. In ancient Egypt they appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly stuffs and supported upon representations of the legs of beasts of the chase or the figures of captives. An arm-chair in fine preservation found in a tomb in the Valley of the Kings is astonishingly similar, even in small details, to that “Empire” style which followed Napoleon’s campaign in Egypt. The earliest monuments of Nineveh represent a chair without a back but with tastefully carved legs ending in lions’ claws or bulls’ hoofs; others are supported by figures in the nature of caryatides or by animals. The earliest known form of Greek chair, going back to five or six centuries before Christ, had a back but stood straight up, front and back. On the frieze of the Parthenon Zeus occupies a square seat with a bar-back and thick turned legs; it is ornamented with winged sphinxes and the feet of beasts. The characteristic Roman chairs were of marble, also adorned with sphinxes; the curule chair was originally very similar in form to the modern folding chair, but eventually received a good deal of ornament.

The most famous of the very few chairs which have come down from a remote antiquity is the reputed chair of St Peter in St Peter’s at Rome. The wooden portions are much decayed, but it would appear to be Byzantine work of the 6th century, and to be really an ancient sedia gestatoria. It has ivory carvings representing the labours of Hercules. A few pieces of an earlier oaken chair have been let in; the existing one, Gregorovius says, is of acacia wood. The legend that this was the curule chair of the senator Pudens is necessarily apocryphal. It is not, as is popularly supposed, enclosed in Bernini’s bronze chair, but is kept under triple lock and exhibited only once in a century. Byzantium, like Greece and Rome, affected the curule form of chair, and in addition to lions’ heads and winged figures of Victory and dolphin-shaped arms used also the lyre-back which has been made familiar by the pseudo-classical revival of the end of the 18th century. The chair of Maximian in the cathedral of Ravenna is believed to date from the middle of the 6th century. It is of marble, round, with a high back, and is carved in high relief with figures of saints and scenes from the Gospels—the Annunciation, the Adoration of the Magi, the flight into Egypt and the baptism of Christ. The smaller spaces are filled with carvings of animals, birds, flowers and foliated ornament. Another very ancient seat is the so-called “Chair of Dagobert” in the Louvre. It is of cast bronze, sharpened with the chisel and partially gilt; it is of the curule or faldstool type and supported upon legs terminating in the heads and feet of animals. The seat, which was probably of leather, has disappeared. Its attribution depends entirely upon the statement of Suger, abbot of St Denis in the 12th century, who added a back and arms. Its age has been much discussed, but Viollet-le-Duc dated it to early Merovingian times, and it may in any case be taken as the oldest faldstool in existence. To the same generic type belongs the famous abbots’ chair of Glastonbury; such chairs might readily be taken to pieces when their owners travelled. The faldisterium in time acquired arms and a back, while retaining its folding shape. The most famous, as well as the most ancient, English chair is that made at the end of the 13th century for Edward I., in which most subsequent monarchs have been crowned. It is of an architectural type and of oak, and was covered with gilded gesso which long since disappeared.

Passing from these historic examples we find the chair monopolized by the ruler, lay or ecclesiastical, to a comparatively late date. As the seat of authority it stood at the head of the lord’s table, on his dais, by the side of his bed. The seigneurial chair, commoner in France and the Netherlands than in England, is a very interesting type, approximating in many respects to the episcopal or abbatial throne or stall. It early acquired a very high back and sometimes had a canopy. Arms were invariable, and the lower part was closed in with panelled or carved front and sides—the seat, indeed, was often hinged and