CHODOWIECKI, DANIEL NICOLAS (1726-1801), German painter and engraver of Polish descent, was born at Danzig. Left an orphan at an early age, he devoted himself to the practice of miniature painting, the elements of which his father had taught him, as a means of support for himself and his mother. In 1743 he went to Berlin, where for some time he worked as clerk in an uncle’s office, practising art, however, in his leisure moments, and gaining a sort of reputation as a painter of miniatures for snuff-boxes. The Berlin Academy, attracted by a small engraving of his, entrusted to him the illustration of its yearly almanac. After designing and engraving several subjects from the story of the Seven Years’ War, Chodowiecki produced the famous “History of the Life of Jesus Christ,” a set of admirably painted miniatures, which made him at once so popular that he laid aside all occupations save those of painting and engraving. Few books were published in Prussia for some years without plate or vignette by Chodowiecki. It is not surprising, therefore, that the catalogue of his works (Berlin, 1814) should include over 3000 items, of which, however, the picture of “Jean Calas and his Family” is the only one of any reputation. He became director of the Berlin Academy in 1797. The title of the German Hogarth, which he sometimes obtained, was the effect of an admiration rather imaginative than critical, and was disclaimed by Chodowiecki himself. The illustrator of Lavater’s Essays on Physiognomy, the painter of the “Hunt the Slipper” in the Berlin museum, had indeed but one point in common with the great Englishman—the practice of representing actual life and manners. In this he showed skilful drawing and grouping, and considerable expressional power, but no tendency whatever to the use of the grotesque.
His brother Gottfried (1728-1781) and son Wilhelm (1765-1803) painted and engraved after the style of Daniel, and sometimes co-operated with him.
CHOERILUS. (1) An Athenian tragic poet, who exhibited plays as early as 524 B.C. He was said to have competed with Aeschylus, Pratinas and even Sophocles. According to F.G. Welcker, however, the rival of Sophocles was a son of Choerilus, who bore the same name. Suidas states that Choerilus wrote 150 tragedies and gained the prize 13 times. His works are all lost; only Pausanias (i. 14) mentions a play by him entitled Alope (a mythological personage who was the subject of dramas by Euripides and Carcinus). His reputation as a writer of satyric dramas is attested in the well-known line
ἡνίκα μἑν βασιλεὑς ἡν Χοιρίλος ἐν Σατύοις.
The Choerilean metre, mentioned by the Latin grammarians, is probably so called because the above line is the oldest extant specimen. Choerilus was also said to have introduced considerable improvements in theatrical masks and costumes.
See A. Nauck, Tragicorum Graecorum Fragmenta (1889); F.G. Welcker, Die griechischen Tragödien, pp. 18, 892.
(2) An epic poet of Samos, who flourished at the end of the 5th century B.C. After the fall of Athens he settled at the court of Archelaus, king of Macedonia, where he was the associate of Agathon, Melanippides, and Plato the comic poet. The only work that can with certainty be attributed to him is the Περσηίς or Περσικά, a history of the struggle of the Greeks against Persia, the central point of which was the battle of Salamis. His importance consists in his having taken for his theme national and contemporary events in place of the deeds of old-time heroes. For this new departure he apologizes in the introductory verses (preserved in the scholiast on Aristotle, Rhetoric, iii. 14), where he says that, the subjects of epic poetry being all exhausted, it was necessary to strike out a new path. The story of his intimacy with Herodotus is probably due to the fact that he imitated him and had recourse to his history for the incidents of his poem. The Perseis was at first highly successful and was said to have been read, together with the Homeric poems, at the Panathenaea, but later critics reversed this favourable judgment. Aristotle (Topica, viii. 1) calls Choerilus’s comparisons far-fetched and obscure, and the Alexandrians displaced him by Antimachus in the canon of epic poets. The fragments are artificial in tone.
G. Kinkel, Epicorum Graecorum Frag. i. (1877); for another view of his relations with Herodotus see Müder in Klio (1907), 29-44.
(3) An epic poet of Iasus in Caria, who lived in the 4th century B.C. He accompanied Alexander the Great on his campaigns as court-poet. He is well known from the passages in Horace (Epistles, ii. 1, 232; Ars Poëtica, 357), according to which he received a piece of gold for every good verse he wrote in celebration of the glorious deeds of his master. The quality of his verses may be estimated from the remark attributed to Alexander, that he would rather be the Thersites of Homer than the Achilles of Choerilus. The epitaph on Sardanapalus, said to have been translated from the Chaldean (quoted in Athenaeus, viii. p. 336), is generally supposed to be by Choerilus.