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 (2 vols., Paris, 1873), 196 plates; Auguste Racinet, Le Costume historique, in two forms, large and small (Paris, 1876, another ed. in 6 vols., with 500 plates, 1888); G. M. Straub, Trachten oder Stammbuch (1600), several hundreds of curious woodcuts of costumes; Vecellio, Habiti antichi et moderni di tutto il mondo (3 vols., Venice, 1859–1863).

Examples and illustrations of early costume of great interest and value may be found in the Archaeologia, M. Didron’s Annales archéologiques, the Journals of the Archaeological Societies, the various county histories, the Monumenta Vetusta of the London Society of Antiquaries, and other kindred works.

Besides works on costume generally, there are a large number devoted specially to national or “folk” costumes. Of these may be mentioned: F. Hottenroth, ''Deutsche Volkstrachten, städtische und ländliche, vom XVI. Jahrhundert bis zum Anfange des XIX. Jahrhunderts (Frankfort, 1898, 1900, 1902, &c.), including German, Bohemian, Swiss and Dutch local costumes, with references to further works; L. M. Lanté, Costume de divers pays (undated, c. 1825), 177 coloured plates of female costumes, mainly French, some Spanish, German, &c.; A. Hård, Swedish Costumes (Stockholm, 1858), 10 coloured plates; Félix Benoist, La Normandie illustrée (2 vols. fol., Nantes, 1854), with excellent coloured lithographs of costumes by Hyppolite Lalaine; E. H. T. Pingret, Galerie royale de costumes (Paris, undated), beautiful lithographs of costumes, principally Italian with some Spanish and Swiss, lithographed from paintings by Pingret by various artists; Edward Harding, Costume of the Russian Empire (London, 1811), with 70 hand-coloured plates, including costumes of many of the semi-barbaric tribes of central Asia; for Turkish costume in the 18th century see Recueil de cent estampes représentant différentes nations du Levant, engraved by Le Hay (Paris, 1714); for Greek costume at the time of the War of Independence see Baron O. M. von Stackelberg, Costumes et usages des peuples de la Grèce moderne'' (Rome, 1825), with 30 beautiful plates. For Highland costume see R. R. MacIan, Costumes of the Clans (Glasgow, 1899), with letterpress by J. Logan.

COSWAY, RICHARD (c. 1742–1821), English miniature painter, was baptized in 1742; his father was master of Blundell’s school, Tiverton, where Cosway was educated, and his uncle mayor of that town. He it was who, in conjunction with the boy’s godfather, persuaded the father to allow Richard to proceed to London before he was twelve years old, to take lessons in drawing, and undertook to support him there. On his arrival, the youthful artist won the first prize given by the newly founded Society of Arts, of the money value of five guineas. He went to Thomas Hudson for his earliest instruction, but remained with him only a few months, and then attended William Shipley’s drawing class, where he remained until he began to work on his own account in 1760. He was one of the earliest members of the Royal Academy, Associate in 1770 and Royal Academician in 1771. His success in miniature painting is said to have been started by his clever portrait of Mrs Fitzherbert, which gave great satisfaction to the prince of Wales, and brought Cosway his earliest great patron. He speedily became one of the most popular artists of the day, and his residence at Schomberg House, Pall Mall, was a well-known aristocratic rendezvous. In 1791 he removed to Stratford Place, where he lived in a state of great magnificence till 1821, when after selling most of the treasures he had accumulated he went to reside in Edgware Road. He died on the 4th of July 1821, when driving in a carriage with his friend Miss Udney. He was buried in Marylebone New church.

He married in 1781 Maria Hadfield, who survived him many years, and died in Italy in January 1838, in a school for girls which she had founded, and which she had attached to an important religious order devoted to the cause of female education, known as the Dame Inglesi. She had been created a baroness of the Empire on account of her devotion to female education by the emperor Francis I. in 1834. Her college still exists, and in it are preserved many of the things which had belonged to her and her husband.

Cosway had one child who died young. She is the subject of one of his most celebrated engravings. He painted miniatures of very many members of the royal family, and of the leading persons who formed the court of the prince regent. Perhaps his most beautiful work is his miniature of Madame du Barry, painted in 1791, when that lady was residing in Bruton Street, Berkeley Square. This portrait, together with many other splendid works by Cosway, came into the collection of Mr J. Pierpont Morgan. There are many miniatures by this artist in the royal collection at Windsor Castle, at Belvoir Castle and in other important collections. His work is of great charm and of remarkable purity, and he is certainly the most brilliant miniature painter of the 18th century.

For a full account of the artist and his wife, see Richard Cosway, R.A., by G. C. Williamson (1905).

 COTA DE MAGUAQUE, RODRIGO (d. c. 1498), Spanish poet, who flourished towards the end of the 15th century, was born at Toledo. Little is known of him save that he was of Jewish origin. The Coplas de Mingo Revulgo, the Coplas del Provincial, and the first act of the Celestina have been ascribed to him on insufficient grounds. He is undoubtedly the author of the Dialogo entre el amor y un viejo, a striking dramatic poem first printed in the Cancionero general of 1511, and of a burlesque epithalamium written in 1472 or later. He abjured Judaism about the year 1497, and is believed to have died shortly afterwards.

See “Épithalame burlesque,” edited by R. Foulché-Delbosc, in the Revue hispanique (Paris, 1894), i. 69-72; A. Bonilla y San Martín, Anales de la literature española (Madrid, 1904), pp. 164-167.

 CÔTE-D’OR, a department of eastern France, formed of the northern region of the old province of Burgundy, bounded N. by the department of Aube, N.E. by Haute-Marne, E. by Haute-Saône and Jura, S. by Saône-et-Loire, and W. by Nièvre and Yonne. Area, 3392 sq. m. Pop. (1906) 357,959. A chain of hills named the Plateau de Langres runs from north-east to south-west through the centre of the department, separating the basin of the Seine from that of the Saône, and forming a connecting-link between the Cévennes and the Vosges mountains. Extending southward from Dijon is a portion of this range which, on account of the excellence of its vineyards, bears the name of Côte-d’Or, whence that of the department. The north-west portion of the department is occupied by the calcareous and densely-wooded district of Châtillonais, the south-west by spurs of the granitic chain of Morvan, while a wide plain traversed by the Saône extends over the eastern region. The Châtillonais is watered by the Seine, which there takes its rise, and by the Ource, both fed largely by the douix or abundant springs characteristic of Burgundy. The Armançon and other affluents of the Yonne, and the Arroux, a tributary of the Loire, water the south-west.

The climate of Côte-d’Or is temperate and healthy; the rainfall is abundant west of the central range, but moderate, and, in places, scarce, in the eastern plain. Husbandry flourishes, the wealth of the department lying chiefly in its vineyards, especially those of the Côte-d’Or, which comprise the three main groups of Beaune, Nuits and Dijon, the latter the least renowned of the three. The chief cereals are wheat, oats and barley; potatoes, hops, beetroot, rape-seed, colza and a small quantity of tobacco are also produced. Sheep and cattle-raising is carried on chiefly in the western districts. The department has anthracite mines and produces freestone, lime and cement. The manufactures include iron, steel, nails, tools, machinery and other iron goods, paper, earthenware, tiles and bricks, morocco leather goods, biscuits and mustard, and there are flour-mills, distilleries, oil and vinegar works and breweries. The imports of the department are inconsiderable, coal alone being of any importance; there is an active export trade in wine, brandy, cereals and live stock and in manufactured goods. The Paris-Lyon-Méditerranée railway serves the department, its main line passing through Dijon. The canal of Burgundy, connecting the Saône with the Yonne, has a length of 94 m. in the department, while that from the Marne to the Saône has a length of 24 m.

Côte-d’Or is divided into the arrondissements of Dijon, Beaune, Châtillon and Semur, with 36 cantons and 717 communes. It forms the diocese of the bishop of Dijon, and part of the archiepiscopal province of Lyons and of the 8th military region. Dijon is the seat of the educational circumscription (académie) and court of appeal to which the department is assigned. The more noteworthy places are Dijon, the capital, Beaune, Châtillon, Semur, Auxonne, Flavigny and Cîteaux, all separately treated. St Jean de Losne, at the extremity of the Burgundy canal, is famous for its brave and successful resistance in 1636 to an immense force of Imperialists. Châteauneuf has a château of the