COUPON (from Fr. couper, to cut), a certificate entitling its owner to some payment, share or other benefit; more specifically, one of a series of interest certificates or dividend warrants attached to a bond running for a number of years. The word coupon (a piece cut off) possesses an etymological meaning so comprehensive that, while on the Stock Exchange it is only used to denote such an interest certificate or a certificate of stock of a joint-stock company, it may be as suitably, and elsewhere is perhaps more frequently, applied to tickets sold by tourist agencies and others. The coupons by means of which the interest on a bond or debenture is collected are generally printed at the side or foot of that document, to be cut off and presented for payment at the bank or agency named on them as they become due. The last portion, called a “talon,” is a form of certificate, and entitles the holder, when all the coupons have been presented, to obtain a fresh coupon sheet. They pass by delivery, and are as a rule exempt from stamp duty. Coupons for the payment of dividends are also attached to the share warrants to bearer issued by some joint-stock companies. The coupons on the bonds of most of the principal foreign loans are payable in London in sterling as well as abroad.
COURANTE (a French word derived from courir, to run), a dance in 3-2 time march in vogue in France in the 17th century (see [Dance]). It is also a musical term for a movement or independent piece based on the dance. In a suite it followed the Allemande (q.v.), with which it is contrasted in rhythm.
COURAYER, PIERRE FRANÇOIS LE (1681-1776), French Roman Catholic theological writer, was born at Rouen on the 17th of November 1681. While canon regular and librarian of the abbey of St Geneviève at Paris, he conducted a correspondence with Archbishop Wake on the subject of episcopal succession in England, which supplied him with material for his work, Dissertation sur la validité des ordinations des Anglais et sur la succession des évêques de l’Église anglicane, avec les preuves justificatives des faits avancés (Brussels, 1723; Eng. trans. by D. Williams, London, 1725; reprinted Oxford, 1844, with memoir of the author), an attempt to prove that there has been no break in the line of ordination from the apostles to the English clergy. His opinions exposed him to a prosecution, and with the help of Bishop Atterbury, then in exile in Paris, he took refuge in England, where he was presented by the university of Oxford with a doctor’s degree. In 1736 he published a French translation of Paolo Sarpi’s History of the Council of Trent, and dedicated it to Queen Caroline, from whom he received a pension of £200 a year. Besides this he translated Sleidan’s History of the Reformation, and wrote several theological works. He died in London on the 17th of October 1776, and was buried in the cloisters of Westminster Abbey. In his will, dated two years before his death, he declared himself still a member of the Roman Catholic Church, although dissenting from many of its opinions.
COURBET, GUSTAVE (1819-1877), French painter, was born at Ornans (Doubs) on the 10th of June 1819. He went to Paris in 1839, and worked at the studio of Steuben and Hesse; but his independent spirit did not allow him to remain there long, as he preferred to work out his own way by the study of Spanish, Flemish and French painters. His first works, an “Odalisque,” suggested by Victor Hugo, and a “Lélia,” illustrating George Sand, were literary subjects; but these he soon abandoned for the study of real life. Among other works he painted his own portrait with his dog, and “The Man with a Pipe,” both of which were rejected by the jury of the Salon; but the younger school of critics, the neo-romantics and realists, loudly sang the praises of Courbet, who by 1849 began to be famous, producing such pictures as “After Dinner at Ornans” and “The Valley of the Loire.” The Salon of 1850 found him triumphant with the “Burial at Ornans,” the “Stone-Breakers” and the “Peasants of Flazey.” His style still gained in individuality, as in “Village Damsels” (1852), the “Wrestlers,” “Bathers,” and “A Girl Spinning” (1852). Though Courbet’s realistic work is not devoid of importance, it is as a landscape and sea painter that he will be most honoured by posterity. Sometimes, it must be owned, his realism is rather coarse and brutal, but when he paints the forests of Franche-Comté, the “Stag-Fight,” “The Wave,” or the “Haunt of the Does,” he is inimitable. When Courbet had made a name as an artist he grew ambitious of other glory; he tried to promote democratic and social science, and under the Empire he wrote essays and dissertations. His refusal of the cross of the Legion of Honour, offered to him by Napoleon III., made him immensely popular, and in 1871 he was elected, under the Commune, to the chamber. Thus it happened that he was responsible for the destruction of the Vendôme column. A council of war, before which he was tried, condemned him to pay the cost of restoring the column, 300,000 francs (£12,000). To escape the necessity of working to the end of his days at the orders of the State in order to pay this sum, Courbet went to Switzerland in 1873, and died at La Tour du Peilz, on the 31st of December 1877, of a disease of the liver aggravated by intemperance. An exhibition of his works was held in 1882 at the École des Beaux-Arts.
See Champfleury, Les Grandes Figures d’hier et d’aujourd’ hui (Paris, 1861); Mantz, “G. Courbet,” Gaz. des beaux-arts (Paris, 1878); Zola, Mes Haines (Paris, 1879); C. Lemonnier, Les Peintres de la Vie (Paris, 1888).
(H. Fr.)