CHASE, WILLIAM MERRITT (1849- ), American painter, was born at Franklin, Indiana, on the 1st of November 1849. He was a pupil of B.F. Hays at Indianapolis, of J.O. Eaton in New York, and subsequently of A. Wagner and Piloty in Munich. In New York he established a school of his own, after teaching with success for some years at the Art Students’ League. A worker in all mediums—oils, water-colour, pastel and etching—painting with distinction the figure, landscape and still-life, he is perhaps best known by his portraits, his sitters numbering some of the most important men and women of his time. Mr Chase won many honours at home and abroad, became a member of the National Academy of Design, New York, and for ten years was president of the Society of American Artists. Among his important canvases are “Ready for the Ride” (Union League Club, N.Y.), “The Apprentice,” “Court Jester,” and portraits of the painters Whistler and Duveneck; of General Webb and of Peter Cooper.
CHASE. (1) (Fr. chasse, from Lat. captare, frequentative of capere, to take), the pursuit of wild animals for food or sport (see [Hunting]). The word is used of the pursuit of anything, and also of the thing pursued, as, in naval warfare, of a ship. A transferred meaning is that of park land reserved for the breeding and hunting of wild animals, in which sense it appears in various place-names in England, as Cannock Chase. It is also a term for a stroke in tennis (q.v.). (2) (Fr. châsse, Lat. capsa, a box, cf. caisse, and “chest”), an enclosure, such as the muzzle-end of a gun in front of the trunnions, a groove cut to hold a pipe, and, in typography, the frame enclosing the “forme.”
CHASING, or Enchasing, the art of producing figures and ornamental patterns, either raised or indented, on metallic surfaces by means of steel tools or punches. It is practised extensively for the ornamentation of goldsmith and silversmith work, electro-plate and similar objects, being employed to produce bold flutings and bosses, and in another manner utilized for imitating engraved surfaces. Minute work can be produced by this method, perfect examples of which may be seen in the watch-cases chased by G.M. Moser, R.A. (1704-1783). The chaser first outlines the pattern on the surface he is to ornament, after which, if the work involves bold or high embossments, these are blocked out by a process termed “snarling.” The snarling iron is a long iron tool turned up at the end, and made so that when securely fastened in a vise the upturned end can reach and press against any portion of the interior of the vase or other object to be chased. The part to be raised being held firmly against the upturned point of the snarling iron, the workman gives the shoulder or opposite end of the iron a sharp blow, which causes the point applied to the work to give it a percussive stroke, and thus throw up the surface of the metal held against the tool. When the blocking out from the interior is finished, or when no such embossing is required, the object to be chased is filled with molten pitch, which is allowed to harden. It is then fastened to a sandbag, and with hammer and a multitude of small punches of different outline the whole details of the pattern, lined, smooth or “matt,” are worked out. Embossing and stamping from steel dies and rolled ornaments have long since taken the place of chased ornamentations in the cheaper kinds of plated works. (See [Embossing].)
CHASLES, VICTOR EUPHÉMIEN PHILARÈTE (1798-1873), French critic and man of letters, was born at Mainvilliers (Eure et Loir) on the 8th of October 1798. His father, Pierre Jacques Michel Chasles (1754-1826), was a member of the Convention, and was one of those who voted the death of Louis XVI. He brought up his son according to the principles of Rousseau’s Émile, and the boy, after a régime of outdoor life, followed by some years’ classical study, was apprenticed to a printer, so that he might make acquaintance with manual labour. His master was involved in one of the plots of 1815, and Philarète suffered two months’ imprisonment. On his release he was sent to London, where he worked for the printer Valpy on editions of classical authors. He wrote articles for the English reviews, and on his return to France did much to popularize the study of English authors. He was also one of the earliest to draw attention in France to Scandinavian and Russian literature. He contributed to the Revue des deux mondes, until he had a violent quarrel, terminating in a lawsuit, with François Buloz, who won his case. He became librarian of the Bibliothèque Mazarine, and from 1841 was professor of comparative literature at the Collège de France. During his active life he produced some fifty volumes of literary history and criticism, and of social history, much of which is extremely valuable. He died at Venice on the 18th of July 1873. His son, Émile Chasles (b. 1827), was a philologist of some reputation.
Among his best critical works is Dix-huitième Siècle en Angleterre ... (1846), one of a series of 20 vols. of Études de littérature comparée (1846-1875), which he called later Trente ans de critique. An account of his strenuous boyhood is given in his Maison de mon père. His Mémoires (1876-1877) did not fulfil the expectations based on his brilliant talk.