make one picture-dealer, so that it is difficult to say what is their intrinsic or permanent value. Before his death and for ten years thereafter, their prices were remarkable, as witness the following, obtained at auction Going to the Mill, 1575; Old Mill at Bettws-y-Coed, 1575; Out skirts of a Wood, with Gipsies, 2305 ; Peace and War,
3430.COX, Richard (1499-1581), born at Whaddon, Buckinghamshire, was educated at Eton, and afterwards at King s College, Cambridge, of which he became a fellow in 1519. He was -invited to Oxford by Cardinal Wolsey; but having adopted the Reformed opinions, he was stripped of his preferment, and thrown into prison. On his release, however, he was appointed master of Eton School, and in 1541 he was made prebendary of Ely Cathedral. Through the influence of Cranmer he was chosen tutor to Prince Edward ; and on the accession of that prince he was sworn of the Privy Council, and made king s almoner. Under Mary he was stripped of his preferments, and committed to the Marshalsea ; he escaped, however, to Strasburg, where he resided with Peter Martyr. By Elizabeth he was ele vated to the see of Ely. Cox was a man of considerable learning. He was distinguished by the violence of the measures which he recommended for the extirpation of Popery and dissent.
He translated the four gospels, the Acts of the Apostles, and the Epistle to the Romans, iu the Bishops Bible, and had a consi derable share in compiling and revising the liturgy ; and he wrote Two Latin Orations on the Dispute between Dr Tresham and Peter Martyr, London, 1549, and Resolutions of some Ques tions concerning the Sacrament, printed in the Collection of Records at the end of Burnet s History of the Reformation.
COXCIE, Michael (1499-1592), was born at Malines, and studied under Bernard van Orlay, who probably in duced him to visit Italy. At Rome in 1532 he painted the chapel of Cardinal Enckenvooit in the church de Anima ; and Vasari, who knew him personally, says with truth " that he fairly acquired the manner of an Italian." But Coxcie s chief business in Italy was not painting, His principal occupation was designing for engravers; and the fable of Psyche in thirty-two sheets by Agostino Veneziano and the Master of the Die are favourable speci mens of his skill in this respect. During a subsequent residence in the Netherlands Coxcie greatly extended his practice in this branch of art. But his productions were till lately concealed under an interlaced monogram M.C.O.K.X.I.N. Coxcie, who married in Italy, displayed the peculiar bias of his taste by christening his eldest son Raphael. He returned in 1539 to Malines, where he matriculated, and painted for the chapel of the guild of St Luke the wings of an altar-piece now in Sanct Veit of Prague. The centre of this altar-piece, by Mabuse, represents St Luke pourtraying the Virgin; the side pieces contain the Martyrdom of St Vitus and the Vision of St John in Patmos. At Van Orlay s death in 1541 Coxcie succeeded to the office of court painter to the regent Mary of Hungary, for whom he decorated the castle of Binche. He was subsequently patronized by Charles V., who often coupled his works with those of Titian ; by Philip II., who paid him royally for a copy of Van Eyck s Agnus Dei; and by the duke of Alva, who once protected him from the insults of Spanish soldiery at Malines. There are large and capital works of his (1587-88) in St Rombaud of Malines, in Ste Gudule of Brussels, and in the museums of Brussels and Antwerp. His style is Raphaelesque grafted on the Flemish, but his imitation of Raphael, whilst it distantly recalls Giulio Romano, is never free from affectation and stiffness. Coxcie was working at a picture in Antwerp when he met with a fall. He was taken in an ailing state to Malines, where lie, died on the 5th of March 1592.
COXE, William (1747-1828), archdeacon of Wilts, traveller, and historian, was born at London in 1747. He was elected fellow of King s College, Cambridge, in 1768, and afterwards went abroad on a visit to the different Continental states, where he prosecuted the researches which were afterwards incorporated into his historical works. On his final return to England he was appointed to the rectory of Bemerton, and in 1808 was preferred to the archdeaconry of Wilts. Towards the close of his life his vision became seriously impaired, and for nearly seven years before his death he was totally blind. He died at Bemerton in 1828.
Of his numerous works the most important are Sketches of the Natural, Civil, and Political State of Switzerland (1779) ; Private Correspondence of Charles Talbot, Duke of Shrewsbury (1821) ; Travels in Sioitzerland (1789) ; Travels in Poland, Russia, Sweden, and Denmark (1784) ; Histories of the House of Austria, and of the Kings of Spain of the House of Bourbon ; Memoirs of John, Duke oj Marlborough ; Memoirs of Sir Robert Walpole ; Memoirs of the Administration of Henry Pelham (posthumous, 1839) ; Literary Life and Select Works of Bp. Stillingfleet.
COYPEL, the name of a French family of painters. Noel Coypel (1628-1707), also called, from the fact that he was much influenced by Poussin, Coypel le Poussin, was the son of an unsuccessful artist. Having been employed by Edward to paint some of the pictures required for the Louvre, and having afterwards gained considerable fame by other pictures produced at the command of the king, in 1672 he was appointed rector of the French Academy at Rome, to which he is said to have done good service. After four years he returned to France ; and not long after he became director of the Academy of Painting. The Martyrdom of St James in Notre Dame is perhaps his finest work. His son, Antoine Coypel, was still more famous. Antoine studied under his father, with whom he spent four years at Rome. At the age of eighteen he was admitted into the Academy of Painting, of which he became professor and rector in 1707, and director in 1714. In 1716 he was appointed king s painter, and he was ennobled in the following year. Antoine Coypel received a careful literary education, the effects of which appear in his works ; but the graceful imagination dis played by his pictures is marred by the fact that he was not superior to the artificial taste of his age. He was a clever etcher, and engraved several of his own works. His Discours prononces dans les Conferences de V Academic royale de Peinture, dr., appeared in 1741. His half- brother, Noel Nicolas (1691-1734), was also a popular artist; and his son, Charles Antoine (1694-1752), was painter to the king and director of the Academy of Paint ing. The latter published interesting academical lectures in Le Mercure and wrote several plays which were acted at court, but were never published.
able and famous of French sculptors, born at -Lyons in 1640, belonged to a family which had emigrated from Spain. He was only seventeen when he produced a statue of the Madonna of considerable merit ; and having studied under Leranbert, and trained himself by taking copies in marble from the Greek masterpieces (among others from the Venus de Medici and the Castor and Pollux), he was engaged by the bishop of Strasburg, prince and cardinal Fiirstenberg, to adorn with statuary the palace of Saverne. After four years spent on this work, he returned to Paris in 1671, having gained very considerable fame. He was now employed by Louis XIV. in producing a large number of statues for Versailles ; and he afterwards worked with no less facility and success for the palace at Marly. His works are far too numerous to mention ; but among them are the Mercury and Fame, placed first at
Marly and afterwards in the. gardens of the Tuileries:
