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at Rome, subsequently falling under the influence of Paul Delaroche. He was a well-known painter of portraits and historical pieces, his “Tepidarium at Pompeii” (1853) being now in the Louvre.

CHASSIS (Fr. châssis, a frame, from the Late. Lat. capsum, an enclosed space), properly a window-frame, from which is derived the word “sash”; also the movable traversing frame of a gun, and more particularly that part of a motor vehicle consisting of the wheels, frame and machinery, on which the body or carriage part rests.

CHASTELARD, PIERRE DE BOCSOZEL DE (1540–1563), French poet, was born in Dauphiné, a scion of the house of Bayard. His name is inseparably connected with Mary, queen of Scots. From the service of the Constable Montmorency, Chastelard, then a page, passed to the household of Marshal Damville, whom he accompanied in his journey to Scotland in escort of Mary (1561). He returned to Paris in the marshal’s train, but left for Scotland again shortly afterward, bearing letters of recommendation to Mary from his old protector, Montmorency, and the Regrets addressed to the ex-queen of France by Pierre Ronsard, his master in the art of song. He undertook to transmit to the poet the service of plate with which Mary rewarded him. But he had fallen in love with the queen, who is said to have encouraged his passion. Copies of verse passed between them; she lost no occasion of showing herself partial to his person and conversation. The young man hid himself under her bed, where he was discovered by her maids of honour. Mary pardoned the offence, and the old familiar terms between them were resumed. Chastelard was so rash as again to violate her privacy. He was discovered a second time, seized, sentenced and hanged the next morning. He met his fate valiantly and consistently, reading, on his way to the scaffold, his master’s noble Hymne de la mort, and turning at the instant of doom towards the palace of Holyrood, to address to his unseen mistress the famous farewell—“Adieu, toi si belle et si cruelle, qui me tues et que je ne puis cesser d’aimer.” This at least is the version of the Mémoires of Brantôme, who is, however, notoriously untrustworthy. But for his madness of love, it is possible that Chastelard would have left no shadow or shred of himself behind. As it is, his life and death are of interest as illustrating the wild days in which his lot was cast.

CHASTELLAIN, GEORGES (d. 1475), Burgundian chronicler, was a native of Alost in Flanders. He derived his surname from the fact that his ancestors were burgraves or châtelains of the town; his parents, who belonged to illustrious Flemish families, were probably the Jean Chastellain and his wife Marie de Masmines mentioned in the town records in 1425 and 1432. A copy of an epitaph originally at Valenciennes states that he died on the 20th of March 1474–5 aged seventy. But since he states that he was so young a child in 1430 that he could not recollect the details of events in that year, and since he was “écolier” at Louvain in 1430, his birth may probably be placed nearer 1415 than 1405. He saw active service in the Anglo-French wars and probably elsewhere, winning the surname of L’adventureux. In 1434 he received a gift from Philip the Good, duke of Burgundy, for his military services, but on the conclusion of the peace of Arras in the next year he abandoned soldiering for diplomacy. The next ten years were spent in France, where he was connected with Georges de la Trémoille, and afterwards entered the household of Pierre de Brézé, at that time seneschal of Poitou, by whom he was employed on missions to the duke of Burgundy, in an attempt to establish better relations between Charles VII. and the duke. During these years Chastellain had ample opportunity of obtaining an intimate knowledge of French affairs, but on the further breach between the two princes, Chastellain left the French service to enter Philip’s household. He was at first pantler, then carver, titles which are misleading as to the nature of his services, which were those of a diplomatist; and in 1457 he became a member of the ducal council. He was continually employed on diplomatic errands until 1455, when, owing apparently to ill-health, he received apartments in the palace of the counts of Hainaut at Salle-le-Comte, Valenciennes, with a considerable pension, on condition that the recipient should put in writing “choses nouvelles et morales,” and a chronicle of notable events. That is to say, he was appointed Burgundian historiographer with a recommendation to write also on other subjects not strictly within the scope of a chronicler. From this time he worked hard at his Chronique, with occasional interruptions in his retreat to fulfil missions in France, or to visit the Burgundian court. He was assisted, from about 1463 onwards, by his disciple and continuator, Jean Molinet, whose rhetorical and redundant style may be fairly traced in some passages of the Chronique. Charles the Bold maintained the traditions of his house as a patron of literature, and showed special favour to Chastellain, who, after being constituted indiciaire or chronicler of the order of the Golden Fleece, was himself made a knight of the order on the 2nd of May 1473. He died at Valenciennes on the 13th of February (according to the treasury accounts), or on the 20th of March (according to his epitaph) 1475. He left an illegitimate son, to whom was paid in 1524 one hundred and twenty livres for a copy of the Chronique intended for Charles V.’s sister Mary, queen of Hungary. Only about one-third of the whole work, which extended from 1410 to 1474, is known to be in existence, but MSS. carried by the Habsburgs to Vienna or Madrid may possibly yet be discovered.

Among his contemporaries Chastellain acquired a great reputation by his poems and occasional pieces now little considered. The unfinished state of his Chronique at the time of his death, coupled with political considerations, may possibly account for the fact that it remained unprinted during the century that followed his death, and his historical work was only disinterred from the libraries of Arras, Paris and Brussels by the painstaking researches of M. Buchon in 1825. Chastellain was constantly engaged during the earlier part of his career in negotiations between the French and Burgundian courts, and thus had personal knowledge of the persons and events dealt with in his history. A partisan element in writing of French affairs was inevitable in a Burgundian chronicle. This defect appears most strongly in his treatment of Joan of Arc; and the attack on Agnes Sorel seems to have been dictated by the dauphin (afterwards Louis XI.), then a refugee in Burgundy, of whom he was afterwards to become a severe critic. He was not, however, misled, as his more picturesque predecessor Froissart had been, by feudal and chivalric tradition into misconception of the radical injustice of the English cause in France; and except in isolated instances where Burgundian interests were at stake, he did full justice to the patriotism of Frenchmen. Among his most sympathetic portraits are those of his friend Pierre de Brézé and of Jacques Cœur. His French style, based partly on his Latin reading, has, together with its undeniable vigour and picturesqueness, the characteristic redundance and rhetorical quality of the Burgundian school. Chastellain was no mere annalist, but proposed to fuse and shape his vast material to his own conclusions, in accordance with his political experience. The most interesting feature of his work is the skill with which he pictures the leading figures of his time. His “characters” are the fruit of acute and experienced observation, and abound in satirical traits, although the 42nd chapter of his second book, devoted expressly to portraiture, is headed “Comment Georges escrit et mentionne les louanges vertueuses des princes de son temps.

The known extant fragments of Chastellain’s Chroniques with his other works were edited by Kervyn de Lettenhove for the Brussels Academy in 1863–1866 (8 vols., Brussels) as Œuvres de Georges Chastellain. This edition includes all that had been already published by Buchon in his Collection de chroniques and Choix de chroniques (material subsequently incorporated in the Panthéon littéraire), and portions printed by Renard in his Trésor national, vol. i. and by Quicherat in the Procès de la Pucelle vol. iv. Kervyn de Lettenhove’s text includes the portions of the chronicle covering the periods September 1419, October 1422, January 1430 to December 1431, 1451–1452, July 1454 to October 1458, July 1461 to July 1463, and, with omissions, June 1467 to September 1470; and three volumes of minor pieces of considerable interest, especially Le Temple de Boccace, dedicated to Margaret of Anjou, and the Déprécation for Pierre Brézé, imprisoned by Louis XI. In the case of these minor works the attribution to Chastellain is in some cases erroneous, notably in the case of the Livre des faits de Jacques de Lalain, which