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CHA view, glowing with a fine enthusiasm, and fervidly eloquent alike in eulogy or denunciation. In common with nearly all the eminent men of New England at that time, Dr. Channing was a federalist in his politics, and had thus learned to look with utter distrust and aversion on revolutionary France, and the military usurper whom he regarded as the bloody offspring of a great national crime. He took a warm interest in all measures tending to meliorate the condition and elevate the character of the human race; and his published addresses on temperance, self-culture, and the elevation of the labouring classes, attained a wide circulation and great influence both in England and America. In 1823 he visited Europe, and remained a year abroad, and in 1830 sickness obliged him to spend the winter in the West Indies. What he saw while in the island of Santa Cruz of the practical effects of slavery, revived and strengthened the aversion to it which he had felt during his early residence in Virginia; and he resolved upon an attempt to rouse his countrymen from their apathy upon the subject—for apathy it was. Since the agitation of the Missouri question in congress in 1820 the topic had slept, politicians and even philanthropists fearing to touch it, seeing the difficulties with which it was surrounded, and shrinking from the fearful consequences which the discussion of it might involve. While in the West Indies he began the work on slavery, which was not published till four years afterwards. The length of the interval shows how anxious he was to consider the matter in all its relations, and not to begin a controversy, the bitterness of which he foresaw, till he could promise himself that it would lead to some useful result. The work appeared in 1835, and "from that time he seemed to consider himself bound to the cause of abolition." There followed in rapid succession a letter to J. G. Birney on the Abolitionists; one to Henry Clay on the Annexation of Texas; "Remarks on the Slavery Question;" "The Duty of the Free States, or Remarks suggested by the Case of the Creole;" and the last work of his life, "An Address delivered at Lenox on Emancipation in the British West Indies." The natural result followed, that the more he wrote upon the subject, the more his interest in it deepened, and the more inclined to favour radical measures for its extirpation. Yet he never identified himself either in action or opinion with the extreme and violent abolitionists. His good taste and the gentleness of his disposition shrank from fanatical counsels and desperate measures. He wrote upon it almost as if engaged in an abstract discussion, loving to recur to first principles and dwell upon them, and taking little notice of particular facts or special remedies. Yet the unaffected earnestness of his manner, the loftiness of his rebukes of timidity, ignorance, or apathy on such a subject, and the eloquence of his denunciations of a great social wrong, did much to help the cause; they found many listeners, and made many converts. The abolition movement gradually absorbed all his powers, and up to the day of his death it was the interest nearest his heart. The summer of 1842 he passed in a beautiful mountainous district in the western part of Massachusetts. He intended to return home through the passes of the Green Mountains; but he was attacked at Bennington by a fever, which continued more than three weeks, and finally terminated his life, October 2, 1842. His memoirs, with copious extracts from his correspondence, have been published in three volumes by his nephew, W. H. Channing; and his collected works have also appeared in a handsome edition in six volumes.—F. B.  CHANTREY,, was born at Norton in Derbyshire on the 7th of April, 1782. His father had a small farm there, and Chantrey's first impressions of the great world were acquired in his occasional visits to Sheffield with his mother on market-days, when she went into town to dispose of the produce of the farm. It was on these visits that the young sculptor's attention was first drawn to carvings and similar objects exposed in the shop windows, which produced in him the ardent desire of imitating such works; and he was eventually placed with a carver of Sheffield, to whom he was bound for three years, though his father had wished to make an attorney of him. Chantrey was, however, soon dissatisfied with carving, which he found too mechanical a process, and he turned his attention to modelling in clay. He left Sheffield, first for Dublin; he then tried Edinburgh, and finally settled in London, where he was fortunate in obtaining the patronage of Nollekens, whose attention was attracted to a bust by the young sculptor of J. R. Smith. It is related that Nollekens, during the disposition of the works for exhibition, singled out this early work of Chantrey's, saying—"It is a splendid work; let the man be known; remove one of my busts, and put this in its place." Nollekens recommended Chantrey on all occasions when a bust was required, and his own works soon established his reputation with the public. He was elected a member of the Royal Academy in 1818, after being only two years on the list of associates. And during a visit to Italy in 1819, he was elected a member also by the academies of Rome and Florence, and he was knighted by the queen in 1837. He died of disease of the heart, November 25, 1841, leaving many works unfinished in the hands of his friends and assistants, Allan Cunningham and Henry Weekes, to be by them completed. Chantrey was buried in a vault constructed by himself in the church of his native place, Norton in Derbyshire; and he bequeathed £200 a year to the clergyman of the place, to be paid so long as his tomb shall last, as a charitable fund to provide for the instruction of ten poor boys, and to furnish a pension of £10 a year to five poor men and five poor women, parishioners of Norton, to be selected by the clergyman; the residue to be reserved by the clergyman for his own use.

Sir Francis Chantrey earned the distinction of being the best bustmaker of his time; he was also a good monumental sculptor, but met with only very partial success in the few practical works he attempted, notwithstanding he had the aid of Stothard in their composition. Two of his finest pieces—Lady Louisa Russell at Woburn abbey, and the sleeping children in Lichfield cathedral, are from designs by Stothard. One of his very best statues is the bronze of William Pitt in Hanover Square. He was essentially a portrait sculptor only, or maker of what the Greeks called iconic figures; he is entitled to the same rank, therefore, in sculpture that is given to successful portrait painters in painting. His equestrian statues are not successful, the horses are particularly inanimate; as, for instance, in the monument to George IV. in Trafalgar Square. His last work of this class, that to the duke of Wellington before the London Royal Exchange, was executed almost entirely by Mr. Weekes.

Chantrey's will has secured him a very important position in the future history of the art of his country. His great success enabled him to accumulate a large fortune, and as he had no children he bequeathed it to the nation, to be laid out, according to directions provided, in the encouragement of British art. He left the reversion of his property, at the death or remarriage of his widow, at the disposal of the Royal Academy of Arts, to be laid out in the purchase of the finest examples of painting and sculpture executed within the shores of Great Britain; all purchases to be bonâ fide purchases of finished works. The amount to be thus expended towards the formation of a national collection of British fine art in painting and sculpture, is supposed to be about £2500 per annum, from which are to be paid annuities of £300 to the president of the Royal Academy, and £50 to the secretary; payable on the 1st of January of every year. Chantrey trusted to the nation to find a repository for these purchases, as he has expressly prohibited any of his fund from being used for such purpose. The fund is not to accumulate for more than five years. Chantrey left to his friend and principal assistant, Allan Cunningham, £2000, and in a codicil a life annuity of £100, with reversion to his widow; he left also £1000 to his assistant, Henry Weekes, provided, in both cases, that they continued in their offices as assistants until the completion of his unfinished works, or such as it might be necessary to finish. Allan Cunningham did not survive Chantrey an entire year. There are two monographs on Chantrey—Recollections of his Life, Practice, and Opinions, by George Jones, R.A., 8vo, London, 1849; and Memorials of Sir Francis Chantrey, R.A., Sculptor, in Hallamshire and elsewhere, by John Holland, 8vo, London, 1851.—R. N. W.  CHAPELAIN,, is supposed to have lived at the court of Philippe Augustus somewhere between 1180 and 1223. He wrote a work—"De Arte Amatoria et Reprobatione Amoris," which, coming from an ecclesiastic, throws curious light upon the sentiments of the time.—J. F. C.  CHAPELAIN,, a French poet, born at Paris in December, 1595. His connection with the foundation of the French Academy, of which he was one of the principal originators, would alone insure his name a place in the memory of men of letters. While yet a child, he learned the Spanish and Italian languages by himself, and his enraptured mother foreseeing fame and fortune for her gifted son, would not let his father make him a 