CXELIUS ANTIPATER. 



COF.LN, WILIIELM VON. 



Ml 



who WM born in IMS. Ho commenced bU military career at an early 

 *f, and mot the leisure which the intervals of active duty afforded 

 in improving the art of fortifying place*, with the view of diminishing 

 the inequality which, by the invention* of hi* contemponty Vaubaii, 

 began then to be hit in the means of attack and defence. The lenriots 

 which Coeborn rendered to bU country, both a* an engineer and a 

 commander, at a time when the defence of it* military pouts wa* an 

 object of the flnt importance, procured for him the most honourable 

 appointment* which a aoldier can attain. He arrived at the rank of 

 general of artillery, and wa* made director-general of fortification* and 

 governor of Flanders. 



At the Mge of Xamur in 1692, Cochorn gallantly defended the fort 

 >re constructed for the purpoM of strengthening the 



which he hod before constructed 



citadel of that place; but being dangerously wounded he wa* at length 

 compelled to surrender. Vanban, who conducted the operation* of the 

 attack on tbi* occaaion, rendered full juitice to the talent* and valour 

 of hi* rival. 



Coehorn wa* engaged at the attack of Trarbach, Liinburg, Liege, 

 and at that of the citadel of Xamur, which three yean before be had 

 defended. In the year 1703 he wa* employed at the siege of Bonn, 

 when, in three day*, hi* heavy and well-directed cannonade caused 

 the surrender of the place. Soon afterwards he forced the French 

 line* at ll.iuuye, and wa* appointed with hi* army to keep in check 

 the Marquis d* Bedmar on the right bank of the Scheldt This was 

 hi* last service ; in the following year (1701) he died at the Hague, at 

 the age of seventy -two. 



In K&5 Coehora published what are called his ' Three Systems of 

 Fortificatiod ; ' they are adapted to ground elevated but from three to 

 five feet above the surface of water, and consequently they may be 

 considered as applicable only to the towns of Holland. He was 

 appointed to repair or reconstruct the fortifications of Nimeguen, 

 Breda, Mxnnheiiu (since destroyed), and Bergen-op-Zoom. The siege 

 of the last place in 1747, by it* duration and the losses which the 

 benefen sustained in it* progress, attest* the merit of the system on 

 which the work* were constructed. 



COiLlCS, or rather CXELIUS AXTI'PATER (LUCIUS), wrote a 

 hi-tory of the second Punic war, in a work bearing the name of 

 1 Annals,' and extending to at least seven books. Some indeed are of 

 opinion that the history embraced a much wider period, beginning 

 ith the first Punic war, and including the times of the Qracci. It 

 wa* dedicated to L. .-Klin*, the same person to whom the poet Lucilius 

 dedicated hi* 'Satires.' From bis cognomen Antipater he was 

 probably of Ore. k origin. The precise period of his birth or death 

 cannot be fixed, but he is called by Cicero ('l)e Leg.' L 2) the 

 contemporary of C. Fannius Strabo, himself an historian, and we 

 know that Funi.iu* wo* with Scipio at Carthage, in ac. 146, and consul 

 in BC. 122. He was also (Cicero, 'De Diviuat.' i. 26) a contemporary 

 of Caius Graccus, who wa* quaestor in B.O. 126, tribune for the first 

 time in Be. 123, and murdered hi B.C. 121. Lastly, the orator, L. 

 Crassus, born B.C. 140, was one among many pupils of Csclius. We 

 shall therefore not be very wrong if we suppose Caelius to have been 

 born about the middle of the second century B.C. 



The historical writings of Cretins were highly valued by his country- 

 men in the tiui- of Cicero, who assigns to him the credit of having 

 surpassed hi* predecessors in historic composition by the dignity and 

 Ifxiuence of his style. Though he wanted that knowledge of the 

 juruprudi nee of bis country which U essential to an accurate historian, 

 yet he wa* a man of an inquisitive temper, and seems generally to 

 have the advantage in point of credibility where he diners from the 

 historian* of the same period. Marcu* Brutus so highly prized his 

 writings, that he made an epitome or abridgment of them, as he hac 

 brfore done of the histories composed by Poljbius and Fannius. Bu< 

 the more complete work of Livin* threw all the historical works o 

 hi* predecessors into oblivion. Casliu* wa* afterwards seldom read 

 except by antiquarians and those who sought in his writings examples 

 of quaint words and obsolete phraseology; it is to the grammarians 

 therefore that wo are chiefly indebted for the fragments of his works 

 that (till exist Theae fragment*, together with those of other Itoman 

 historians, may be found in an appendix to Cort's and Havercamp'i 

 editions of Sallust They have also been edited by Krauso (' Vitro e 

 Fragment* Veterum Historicorum Komanorum,' BeroL, 1883.) One 

 of the most interesting among them is that in which he bears 

 twtimonv to having wen a merchant who had sailed from Spain as 

 far a* Ethiopia, by which he probably meant the coast of Guinea. I 

 U Callus tco who give* the most direct evidence in favour of Han 

 nibal's route acrou the Alp* having been by the Little St Bernard. 

 Two copiou* diMcrUtion* on L. Catlin*, by B. A. NauU and W Q 

 Van Priuterer, will be found in the Annal* of the Academy of Levden 

 for 1821. 



COKLLO, CLAUDIO, a celebrated Spanish painter, born at Madric 

 in the earlier half of the 17th century. His father Faustino Coello 

 who was a Portuguese bronio-worker, wi.lied to bring up his son tt 

 UUi own basinet*, and placed him with Fr.ncUco Kixi to learn to draw 

 Kui however, who soon perceived the great abilities of young Coello 

 persuaded his father to allow him to become a pointer. By th 

 uj.tructioo of Kizi, and by copying a few of the picture* of Titiai 

 Ruben., ^nd Vandyck in th* pulao* at Madrid, Coello became a ver 

 able peintar, and produced several excellent altar-piece* while still wit 



:izL He executed also several works in fre*oo in company with Josef 



>ono*o, especially on the occasion of the marriage of the king 



Charles II., with Maria Louisa of Orleans. In 16SO he was appointed 



.biiiet painter to that king in the place of Carrefio, deceased, with a 



salary of twenty ducat* per month. 



In consequence of the death of itiri, Coello was ordered by the 

 ing to paint the groat altarpiece for the saorinty of the E*cori*l, in 

 >lace of one which bad been commenced by Kiti. The subject was 

 he procession and ceremony of the Collocation of the Host on the 

 Itar of the Sacristy, 'Coloeacion de U Santa Forma,' which took 

 ilace in 1684 in the presence of Charles II. and his officers of state : 

 he picture contains upwards of fifty portrait*, and was completed 

 >y Coello in about three years, to the utmost satisfaction of the king, 

 t is very large, and contains in the group of persons who form the 

 rand procession of the Collocation, the portraits of the king ami ..11 

 he principal nobility of his court-, executed in the most masterly 

 manner. It is Coello's masterpiece, and one of the finest productions 

 if the Spanish school, combining the design of Cano, the colouring 

 if Murillo, and the effect of Velasquez. In Cumberland'* opinion, 

 Toello's style very much resembles that of I'.iul Veronese. Coello i 

 aid to have died of jealousy and vexation in 1 C93, in consequence of 

 he arrival of Luca Giordano at Madrid by the invitation of the king 

 o paint in fresco the great staircase and other principal ports of the 

 iscurial. Giordano arrived in May 1692, and Coello died eleven 

 months afterwards, having from the time of Giordano's arrival. 

 one exception, resolutely adhered to a determination to paint no more. 

 The ' Martyrdom of St. Stephen,' for the Dominican convent at 

 manca, was the only work that he finished, of all he had on 

 ift-i tlie arrival of Giordano at Madrid. It is however to be observed 

 .hat such stories are very common respecting emine-it painters, and 

 that they seem to be transferred from one to another with little 

 ceremony. It may very well have happened that Coello's abstinence 

 Tom painting for the eleven months preceding his death aro-e from 

 lines?; and illness rather than mortification seems to us a much more 

 ikely explanation of such a coarse. 



There are several nltarpiece* and frescoes by Coello at Madrid, and 

 some at Saragoza and other places. 



(Cean BermU'lez, Diccionario Ualorico, <tc.; Cumberland, A needota 

 of Eminent Painter! in .S/>ain.) 



COELN, WILHELM VON, or William of Cologne, a celebrated 

 old German painter, of the latter part of the 14th century, called 

 also Meifiter Wilhelm. There are several documents which satis- 

 factorily prove the existence of this painter, but there are no dati by 

 which any of his works can be identified : many paintings in distemper 

 of the old Cologne school ore attributed to him, upon no other 

 grounds than conjecture ; but none but the best productions of that 

 school are awarded to him. 



The exact date of hU liirth is not known, but the place appears to 

 have been Herle, a village near Cologne, whence he is also called in 

 some document* Wilhelm or Wilhelums de Herle. He was settled 

 in Cologne, with bis wife Jutta, as early as 1370 ; and there is a 

 passage in the Annals of the Dominican monks of Frankfurt, which 

 testifies to his great reputation: ten year* later, it says "in il.:it 

 time, 1380, there wo* at Cologne a most excellent painter, to whom 

 there was not the like in his art ; his name was Wilhelm, and he made 

 pictures of men which almost appeared to be alive." There were 

 celebrated painters at Cologne however long before this period, for 

 Wolfram of Eschenbocb, who lived at the commencement of the 

 13th century, in speaking, in his poem of ' Parcival,' of the beauty of 

 a knight on hor-eback, says that no painter of Cologne or Man 

 could make a better picture than the knight on horse! ack was. Of 

 the works attributed to Meister Wilhelm, the following are the prin- 

 cipal : the picture over the tomb of Cuno von Falkenstein in the 

 St Castors-Kirche at Coblenc, painted in 13S3; the large alia: 

 of the church of St Clara at Cologne, which is now in one of the 

 chapels of the cathedral ; it is in twenty-six compartment* illustrating 

 the life and passion of Christ ; the SaucU Veronica, formerly in tuo 

 Boisseroe collection, now belonging to the Ring of Bavaria, and in the 

 Pinakothek at Munich, and of which there U a beautiful lithograph 

 by Strixner; and a Crucifixion, and a half-length Madonna and infant 

 Christ, in the Wallraf Museum at Cologne. 



MeUter Wilhelm wa* also supposed to have been the master of the 

 so-called Dom-bild, or Cathedral-picture, which was formerly the 

 altarpiece of the chapel of the Katb-hiius of Cologne, but is now in 

 the cathedral, and is at present generally attributed to Meixter Stephan, 

 the supposed scholar of Meister Wilhelni. There are also in the 

 Pinakothek at Munich (cabinet i.) four other pictures of various 

 saints, mostly on gold grounds, beside* the Sancta Veronica, attributed 

 to this painter. They are all remarkable for richness of colour and 

 extreme diligence of execution, in the heads in particular, which all 

 linve a true nobility of expression. Technically, likewise, they are 

 very remarkable works ; for though in water-colours, in a species of 

 tempera, they are equal, or even in some respects superior, in impasto, 

 to the best of oil paintings, and very similar in eSect : they are how- 

 ever Gothic in design ; and in the extremities, especially the fingers, 

 are totally devoid of proportion and modelling. Except for this last- 

 mentioned defect, they would bear a perfect resemblance to the works 

 of the so-called school of Von Eyck ; for even in the vehicle in whii-h 



