and wealth flowed in upon him. Still he remained the | Philip II., who paid him royally for a copy of Van Eyck's same, a man with few wants and scarcely any enjoyments Agnus Dei; and by the duke of Alva, who once protected except those furnished by his brush and his colors. The him from the insults of Spanish soldiery at Malines. There home at Harborne was a pleasant one, but the approach to are large and capital works of his (1587-88) in St. Rombaud the front was useless as the door was kept fastened up, the of Malines, in Ste. Gudule of Brussels, and in the museonly entrance being through the garden at the back, and ums of Brussels and Antwerp. His style is Raphaelesque the principal room appropriated as his studio he was content grafted on the Flemish, but his imitation of Raphael, whilst to reach by a narrow stair from the kitchen. Neither in it it distantly recalls Gilio Romano, is never free from affecnor elsewhere was there any luxury or even taste visible:- | tation and stiffness. Coxcie was working at a picture in Antno bric-a-brac, no objects of interest, few or no books, no werp when he met with a fall. He was taken in an ailing pictures except landscapes by his friends. When in winter, state to Malines, where he died on the 5th of March, 1592. after his wife's death, the fire went out, and the cold at COXE, WILLIAM (1747-1828), archdeacon of Wilts, last surprised him, he lifted his easel into the little din- traveller, and historian, was born at London in 1747. He ing-room and began again. A union of his friends was was elected fellow of King's College, Cambridge, in 1768, formed in 1855 to procure a portrait of him, which was and afterwards went abroad on a visit to the different painted by Sir J. Watson Gordon; and an exhibition of his Continental states, where he prosecuted the researches works was opened in London in 1858 and again another in which were afterwards incorporated into his historical 1859. This was actually open when the news of his death works. On his final return to England he was appointed arrived. 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 in paired, and for nearly seven years before his death he was totally blind. He died at Bemerton in 1828.

The number of David Cox's works, great and small, is enormous. He produced hundreds annually for perhaps forty-five years. This being the case, it has been the interest of dealers to force their price. Mr. Flatou, himself an adept, used to boast that it took six horse-dealers to 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; Outskirts of a Wood, with Gipsies, £2305; Peace and War, (W. B. SC.)

£3430.

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 Switzerland (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 of Marlborough; Memoirs of Sir Robert Walpole; Memoirs of the Administration of Henry Pelham (postCOX, RICHARD (1499-1581), born at Whaddon, Buck-humous, 1839); Literary Life and Select Works of B. Stillingfleet. inghamshire, 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 elevated 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, in the Bishops' Bible, and had a considerable 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 Questions concerning the Sacrament, printed in the Collection of Records at the end of Burnet's History of the Reformation.

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 displayed 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 Prononcés dans les Conférences de l'Académie royale de Peinture, etc., 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 Painting. The latter published interesting academical lectures in Le Mercure, and wrote several plays which were acted at court, but were never published.

COXCIE, MICHAEL (1499–1592), was born at Malines, and studied under Bernard van Orlay, who probably induced him to visit Italy. At Rome in 1532 he painted the chapel of Cardinal Enckenvoort 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 favorable speci- COYSEVOX, ANTOINE (1640-1720), one of the most mens of his skill in this respect. During a subsequent able and famous of French sculptors, born at Lyons in residence in the Netherlands Coxcie greatly extended 1640, belonged to a family which had emigrated from his practice in this branch of art. But his productions Spain. He was only seventeen when he produced a statue were till lately concealed under an interlaced monogram of the Madonna of considerable merit; and having studied M.C.O.K.X.I.N. Coxcie, who married in Italy, displayed under Leranbert, and trained himself by taking copies in the peculiar bias of his taste by christening his eldest marble from the Greek masterpieces (among others from son Raphael. He returned in 1539 to Malines, where he the Venus de Medici and the Castor and Pollux), he matriculated, and painted for the chapel of the guild of was engaged by the bishop of Strasburg, prince and carSt. Luke the wings of an altar-piece now in Sanct Veit dinal Fürstenberg, to adorn with statuary the palace of of Prague. The centre of this altar-piece, by Mabuse, Saverne. After four years spent on this work, he returned represents St. Luke portraying the Virgin; the side pieces to Paris in 1671, having gained very considerable fame. contain the Martyrdom of St. Vitus and the Vision of He was now employed by Louis XIV. in producing a St. John in Patmos. At Van Orlay's death in 1541 large number of statues for Versailles, and he afterwards Coxcie succeeded to the office of court painter to the re-worked with no less facility and success for the palace at gent 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

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:

seeks to make its escape while pain is still being inflicted by the now independent claw. They remain in their burrows by day, and come forth at night in search of food, running about with great speed and retiring, when possible, to their holes, in the presence of danger. They renew their connection with the sea once a year, visiting it in order to deposit their spawn. They travel by night, directed by a powerful instinct which causes them to march straight for their destination, surmounting whatever difficulties may be in their way. At this season they are taken in great numbers, and their flesh is regarded as one of the chief delicacies of the island. Like their marine congeners they cast their shell, but unlike these, it is immediately after the moulting process that they are in best condition for the table. The Calling Crab (Gelasinus | tetragonon) of Ceylon has its left claw exceedingly small, while its fellow is larger than all the rest of the body, and this it carries aloft as if brandishing a weapon (see CRUSTACEA, fig. 65); while the Racer Crab (Ocypoda ceratophthalma) digs deep burrows in the sandy roads of that island, sufficient to render them dangerous for horsemen, were the holes not regularly filled up by a band of laborers.

(6) The Robber Crab (Birgus latro) belongs to that division (Anomoura) of the Decapod Crustaceans which forms a connecting link between crabs and lobsters, the abdominal segments not being folded beneath the breast as in true crabs. It is an inhabitant of the islands in the Indian Ocean, and makes its burrows under the cocoa-nut trees, the fruit of which forms its principal food. It was for merly supposed to ascend these trees and break off the nuts, but the researches of Darwin, Bennet, and others seem to prove that they only make use of the nuts which they find already fallen. In order to get at the edible contents of these, they strip off the fibrous envelope so as to lay bare the eye-spots, into one of which they insert the sharp edge of a claw, and by working this backward and forward they gradually scoop out the substance of the nut. According to another authority, after inserting the claw, they sometimes proceed to crack the hard shell by beating it against a stone. The fibre which they remove from the nut is employed by them in lining their burrows; it is also gathered by the natives and made into mats, etc. The Robber Crab attains a length of 2 feet, and has usually a mass of fat under the tail which, according to Darwin, often yields when melted as much as a quart of limpid oil.

(7) In the Hermit Crabs (Pagurida, Plate X. fig. 7) the abdomen is soft and pulpy and destitute of protecting plates, the safety of this defenceless part being provided for by the entrance of those creatures into univalve shells to which they become so closely attached by means of certain hooked appendages of the abdomen, that it is impossible to drag a Hermit Crab from its adopted shell without tearing the body asunder. The mouth of the shell is guarded by the claw, the larger pincers of some of these crabs being, says Darwin, most beautifully adapted when drawn back to form an operculum to the shell nearly as perfect as the proper one." The most common and the largest of the British species is the Soldier Crab (Pagarus bernhardus, Plate X. fig. 4), to be seen at all seasons on our coasts, inhabiting a great variety of univalve shells from the tiny natica to the largest whelk, the latter being the shell usually chosen by the adult crab. It changes its residence so soon as it has outgrown the dimensions of the place, and its new premises seem to be generally selected with a view to the future growth of the creature. Dead shells appear in some cases to be thus employed, but it is believed that in most instances the crab kills the mollusk in order to secure its shell. Hermit Crabs are largely used as bait. See CRUSTACEA.

CRABBE, GEORGE (1754-1832), was born at Aldborough, in Suffolk, December 24, 1754, and was the son of an officer of the customs. He appears to have been designed by his father first for an employment similar to his own, and afterwards for the medical profession. He was apprenticed to an apothecary, and received an education merely suflicient to qualify him for such an occupation, and by no means to advance him in that literary career in which he became eventually distinguished. His poetical taste was first elicited by the casual perusal of some verses in the Philosophical Magazine, which his father, who was a mathematician and averse to poetry, had separated from the scientific portions of that periodical, and thrown aside, as unworthy. The spark thus kindled burnt steadily; and

| even while a schoolboy he versified much, and made sundry ambitious attempts in the highest walks of composition, The attainment of a prize offered by the editor of the Lady's Magazine for a poem on Hope, although a humble species of success, sufficed to encourage him to renewed exertions; and in 1778 he quitted the profession of medicine, which be had always disliked, and repaired to London, determined to apply himself to literature. His early efforts in his new career were attended with disheartening circumstances. The first poem he offered for publication could find no publisher. From the first that was printed he obtained no profit, in consequence of the publisher's bankruptcy. It was entitled The Candidate, a Poetical Epistle to the Authors of the Monthly Review, and appeared anonymously in 1780. Soon afterwards he became acquainted with Burke, an acquaintance from which may be dated the dawn of his literary rise. Without an introduction, and impelled by distress, he applied to Burke, who kindly took him by the hand, afforded him the advantage of his criticism and advice, recommended him to Dodsley the publisher, invited him to his house, and made him known to many distinguished men of that time, among whom were Reynolds, Johnson, and Fox. Crabbe's first published poenis, after the commencement of his acquaintance with Burke, were The Library and The Village, both of which received the benefit of Burke's observations and the second of which was in a great measure composed at Beaconsfield. In 1781 Crabbe, who by the recommendation of Burke had been qualifying himself for holy orders, was ordained a deacon, and he took priest's orders the following year. After serving a short time as curate at Aldborough, through the influence of this generous and distinguished friend he was introduced to the duke of Rutland and became his domestic chaplain. Nor did Burke's kindness stop here; for he obtained for him from Lord Thurlow, in 1783, a presentation to the rectory of Frome St. Quintin, in Dorsetshire, which he held for six years. About this time he married, and resided for some time at Swefling, county of Suffolk, officiating as curate to the minister of Great Yarmouth. About 1789 he was presented, through the instrumentality of the duchess of Rutland, to the rectories of Muston, in Leicestershire, and West Allington, in Lincolnshire. In 1813 he was preferred to the Rectory of Trowbridge, county of Wilts, which, together with the smaller living of Croxton Ker rial, in Leicestershire, he held to the time of his death. After The Village, published in 1783, which had received the corrections and commendations of Dr. Johnson, Crabbe next produced The Newspaper, published in 1785. After this time his poetical labors were long suspended, owing probably to the dedication of his time to domestic affairs and the duties of his profession, or, as he himself ascribes it, to the loss of those early and distinguished friends who had given him the benefit of their criticism. He had however, the satisfaction of seeing his next work, The Parish Register, published in 1809, read and approved by Fox. The success obtained by these poems, which far exceeded that which had attended his earlier efforts, encouraged him to write again; and in 1810 he published one of his best poems, The Borough, and in 1812 Tales in Verse. His last publication was entitled Tales of the Hail, and appeared in 1819. The latter years of his life he spent in the tranquil and amiable exercise of his domestic and clerical duties at his rectory of Trowbridge, esteemed and admired by his parishioners, among whom he died, after a short illness, on the 8th February, 1832, aged seventy-seven. He was buried in the chancel of Trowbridge church. Crabbe's only prose publications were a Funeral Sermon on Charles, duke of Rutland, preached at Belvoir, and an essay on the natural history of the vale of Belvoir, written for Nichols's History of Leicestershire, in which it is thankfully acknowledged. His fame rests solely on his poems, of which The Parish Register and The Borough are destined to a reputation, if not as brilliant, yet probably as enduring as that of any other contemporary productions.

Crabbe is one of the most original of our poets; and his originality is of that best kind, which displays itself not in tumid exaggeration or flighty extravagance-not in a wide departure from the sober standard of truth-but in a more rigid and uncompromising adherence to it than inferior writers venture to attempt. He is pre-eminently the poet of reality in humble life; and to its representa tion he has applied himself with a rigorous fidelity which