sand translations of selections from Chaucer to Tennyson. His ‘Rambles through Rome,’ brought out in 1852, also attracted some attention. His opinions were entirely republican; and in ‘Ronces et Chardons,’ 1869, he strongly denounced the Emperor Napoleon under the title of Chenapan III. He died at Castelnau Lodge, 20 Warwick Crescent, Regent’s Park, London, on 15 Aug. 1881, and was buried in Lyndhurst churchyard on 22 Aug.
[In Memoriam of Clara de Chatelain, with a Catalogue of her Works, 1876; Fleurs et Fruits. souvenirs de feu Madame C. de Chatelain, 1877, with portrait; Andrews's History of the Dunmow Flitch, 1877, pp. 18, 27–31; Catalogue des Ouvrages du Chevalier de Chatelain, 1875.]
CHATELAINE, JOHN BAPTIST CLAUDE (1710–1771), draughtsman and engraver, whose real name was Philippe, was born in London of French protestant parents in 1710. According to Dussieux in ‘Les Artistes Français à l'étranger’ (Paris, 1856, 8vo) and E. B. de la Chavignerie in ‘Dictionnaire Général des Artistes de l’École Française’ (Paris, 1882, 8vo), he was born and died in Paris. Chatelaine held a commission in the French army, but, endowed with great capacity for drawing, he took to art. He was employed by Alderman Boydell [q. v.], who paid him by the hour on account of his idle and dissolute habits. He resided near Chelsea, in a house which had formerly belon red to Oliver Cromwell, and which Chatellaine took from having dreamed that he would find in it a hidden treasure. He died at the White Bear Inn, Piccadilly, in 1771; his friends raised a subscription to defray the cost of the funeral. He exhibited as an engraver at the Free Society between 1761 and 1763, spelling his name on his plates thus-Chatellain and Chatelin. The following engravings are by him: ‘The Four Times of the Day’ (this plate was afterwards finished by Richard Houston, who engraved it in a mixed style, i.e. etching and mezzotint); two landscapes, after his own designs; eight views of the lakes in Cumberland and Westmoreland, after William Bellers (these views were engraved in conjunction with Ravenet, Grignion, Canot, and Mason); eleven views, after Marco Ricci; three landscapes after Pietro Berrettini da Cortona, Nichollis Poussin, and Francesco Grimaldi, ‘il Bolognese;’ a landscape after F. Mielly; and a ‘View of the London Hospital in Whitechaple Road. Designed by Boulton Mainwaring and painted by William Bellers, etched and engraved by Chatelaine and W. H. Toms;’ a ‘View of the River Thames from Chiswick,' and a ‘View of Fulham Bridge and Putney,’ in 1750. In 1737 J. Rocque published ‘A New Book of Landskips Pleasant and Useful for to learn to draw without a Master, by Chatelin.’ There are in the department of prints and drawings in the British Museum four drawings by him, in pen and bistre, and in black chalk.
[Redgrave’s Dictionary of Artists, 1878; Ottley's Dictionary of Recent and Living Painters and Engravers, 1866; manuscript notes in the British Museum.]
CHÂTELHERAULT, Duke of (d. 1575). [See Hamilton, James.]
CHATFIELD, EDWARD (1800–1839), painter, belonged to an old English family, and was son of John Chattield, a distiller at Croydon, and Anne Humfrey, his wife. Ile was originally destined for the East India House; but havin an innate predilection for art,and there Eein no immediate prospect offered in a distasteful business, he decided to attempt to earn his livin as a painter. In April 1818 he visited the exhibition at Spring Gardens, and there for the first time encountered Benjamin Robert Haydon, in whom he was already deeply interested, and who was destined to have an overmastering influence on his life. Through Elmes, the editor of ‘Annals of the Fine Arts,’ he obtained an introduction to Haydon, was warmly received, and shortly afterwards became a pupil in his studio, where he found the Landseers, William Bewick, Lance, Christmas, and others already working. Under Haydon’s teaching he went through a full course of practical anatomy, and was occupied in close study, both in practice and theory, of the Elgin marbles (then recently acquired) and the works of Raphael, especialy the cartoons. In Haydon's guidance he trusted and believed; and while working under his influence he combined the patience of a literary st udent. with enthusiastic energy of execution. Nature was his ideal, the old masters—Phidias, Raphael, Michael Angelo, Rubens, &c.—the objects of his reverence. He commenced his artistic career with some portrait studies. In 1821 he started upon his first ambitious picture, ‘Moses viewing the Promised Land. This was exhibited in January 1823 at the British Galle, and was received with approbation from flie public, besides warm commendation on the part of Haydon. Chatfield, however, at this point in his career sustained a rude shock; for in June 1823 Haiydon was arrested for debt, and his effects sold. Some of his pupils had put their names to bills at his request, and suffered
