C1IKKTSKV 



CIIKIMI'.INI 



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into Hint and flinty slate. Its colours are gray, 

 white, red, yellow, grwn, or brown. Tin- naim- 

 Chert in sometimes hniite<l to the finer varieties, 

 ami the coarser are called Hornstone. The name 

 Chert is very commonly given to the Hiliroous con- 

 cretions which occur as iKxlules and layers in lime- 

 stone rocks, Hindi in the same way as flints in the 

 rhulk. When these materials exist to such an 

 extent as to render the limestone useless for eco- 

 nomical purposes, it is said to be 'cherty.' 



Chertsey, a town in Surrey, near the right 

 bank of the Thames, here crossed by a seven-arch 

 bridge (1785), 21 miles WSW. of London. It is 

 iiTi'gularly built, chiefly consisting of two long 

 cross-streets, and is surrounded by villas. The 

 chief trade is in malt and flour. Many vegetables 

 arc raised for the London market. Chertsey arose 

 in a monastery founded in 666, and refounded in 

 964 by Edgar for Benedictine monks. Charles 

 James Fox lived on St Anne's Hill, an abrupt 

 elevation about a mile from the town ; and the 

 poet Cowley spent the closing years of his life in 

 Chertsey, in a house that is marked with an inscrip- 

 tion. Pop. of parish ( 1861 ) 6589 ; ( 1 891 ) 1 1 ,298. 



Cherub (Heb. k'nlbh), in the plural Cherubim 

 or Cherubs, is the Hebrew name of a winged 

 creature with a human countenance, which in the 

 Scriptures is almost always represented in con- 

 nection with Jehovah, and especially as drawing 

 his chariot-throne. In Scripture the cherubim 

 appear to be quite distinct from the angels, who 

 are Jehovah's messengers, while the cherubim are 

 found where God himself is personally present, 

 and are the living bearers of God manifesting 

 himself in his glory on the earth. It is possible 

 to trace a development both of their form and 

 their significance. While they are always con- 

 ceived as living creatures, their perfectly free 

 power of movement seems to suggest a connec- 

 tion with the thunder-clouds which reveal to the 

 world the majesty of God. In the 18th Psalm 

 it is said Jehovah 'rode upon a cherub, and did 

 fly ; yea, he flew swiftly upon the wings of the 

 wind;' and elsewhere the clouds are called the 

 chariot of Jehovah. To the Hebrew idea of the 

 cherub (in this aspect of it) is allied the Indian 

 conception of the bird Garuda, the swift bearer 

 of Vishnu, and the swift-winged four-footed bird 

 which in ^Eschylus carries Oceanus through the 

 ether, as well as the (later) Greek and Roman 

 representations of the griffins bearing Apollo or 

 Artemis. According to Sayce, the word is prob- 

 ably connected with the Assyrian kirubu, the 

 name denoting the winged bull which guarded 

 the house from the entrance of evil spirits, and 

 at the same time with kurubu, the ' circling ' bird 

 Le., according to Franz Delitzsch, the vulture. 

 I'lm-nicia took the idea from Babylonia, and 

 the two cherubs made for Solomon ( 1 Kings vi. 

 23-28) were wrought by Phoanician artificers. 

 Cherubim are mentioned in the Old Testament 

 as guards of Paradise ; a cherub with a flaming 

 sword hindered the return of the expelled human 

 pair. In the Holy of Holies cherubim wrought 

 in embossed metal were represented above the 

 mercy-seat, or covering of the Ark of the Cove- 

 nant, so that they appeared to rise out of it. 

 Figures of cherubim were also wrought into the 

 hangings of the Holy of Holies. The cherubim 

 that appear in the visions of Ezekiel and the 

 Revelation of John depart much from the early 

 representations. In Ezekiel they have the body 

 of a man, whose head, besides a human counten- 

 ance, has also that of a lion, an ox, and an eagle ; 

 they are provided with four wings, two of which 

 serve to fly, while the other two cover the body ; 

 four human hands and arms are under the wings, 



and the whole body, before and behind, and on 

 the hands and wings, as well a* the wheelfi of 

 their chariot, is spangled with imiumeruble eyes. 

 In i lie Revelation, four cherubim, covered with 

 eyes, and having six wingx, surround tli<- throne 

 of Jehovah ; the first has the face of a lion, the 

 second of an ox, the third of a man, and the fourth 

 of an eagle. As the Gospel is a unit}*, but four- 

 fold, the four elements of the cherub came to be 

 divided among the four evarijHi>t^. 'he human 

 countenance being the symlwl of Matthew, the 

 lion of Mark, the ox of Luke, and the eagle 

 of John. Most Jewish writers and Christian 

 Fathers conceived the cherubim as angels ; and 

 Dionysius the Areopagite, in his Celestial 

 Hierarchy, makes them a separate clans in the 

 first hierarchy. Most theologians also considered 

 them as angels, until Michaelis showed them 

 to be a poetical creation. Herder, in his Spirit 

 of Hebrew Poetry, compared them to the griffins 

 that watch treasures and other fabulous figures. 

 In Christian art they are generally represented 

 as sexless figures, with wings from the snoulders, 

 the legs also being either covered by wings, or 

 having wings substituted for them. Very often 

 they have also an aureole round the head. 



Chembini, MARIA LUIGI CARLO ZENOBIO 

 SALVATORE, an eminent composer, was born at 

 Florence on the 8th or the 14th September 1760, 

 the tenth of a family of twelve children. He began 

 to study music at the age of six, under his father, 

 and at nine was sent to the academy of Bartolommeo 

 Felici. Church works to the number of seventeen 

 proceeded from his juvenile pen at this period, 

 and were mostly actually performed in Florentine 

 churches. In 1778 he went to Bologna and studied 

 under the famous Sard for four years, removing 

 with him in 1779 to Milan ; here he was grounded 

 in the old Italian contrapuntal style, and also fre- 

 quently assisted his master in wnting minor parts 

 of operas. In 1780 his own first opera, Quinto 

 Fabio, was produced at Alessandria, and for the 

 next fourteen years a succession of dramatic works 

 followed. In 1784 he was invited to London, and 

 held the post of composer to the king for one year. 

 In 1785 he visited Paris, and after another short 

 visit to Turin, returned in 1788 to Paris, which 

 remained thenceforth his home. Up to this period 

 his operas had been in the light Neapolitan style 

 of Paisiello or Cimarosa; they are now forgotten. 

 But after his arrival in Paris a change becomes 

 gradually apparent, contemporaneously with and 

 in the same direction as the development of^the 

 style of Mozart in Figaro and Don Giovanni. 

 Cnerubini, however, had no opportunity of hearing 

 these works at this time, and advanced quite 

 independently on the same path. This change is 

 already distinguishable in his first Parisian opera, 

 Demophon, given in 1788, but is more distinctly 

 developed in Lodoiska, which was received in 1791 

 with astonishment and admiration. Subsequent 

 works were Elise (1794), Medee (1797), Les deux 

 Journees(m 'The Water-carrier,' 1800), his operatic 

 masterpiece, and Auacreon (1803). His lofty 

 unbending manner, however, bail excited a pre- 

 judice against him in the mind of Napoleon. He 

 visited Vienna in 1805, and made the acquaint- 

 ance of Haydn, Beethoven, and Hummel. Two 

 of his operas were produced there ; but the war 

 between Austria and Napoleon cut short his stay, 

 and he returned to France dispirited. In 1808, 

 on a casual visit to Belgium, lie entered on a 

 third period of musical activity with the composi- 

 tion of the first of his great church works, the 

 Mass in F. In l)ecemler 1814 Louis XVIII. made 

 him a knight of the Legion of Honour. Next year 

 he paid a short visit to England which left a bad 

 effect on his health. Shortly after, he succeeded 



