uses. In 1513 he erected an aisle on the south side of St. Giles’s Church, and endowed an altar where masses were to be said for the souls of the king and queen, his first spouse, Margaret Kerkettle, and himself, and fifteen years later he endowed a mortuary chapel in the cemetery of that church where prayers were to be said for James V, the founder and his wife Agnes Cockburn, Margaret Kerkettle, his former spouse, and especially for ‘the repose of the souls of the king and nobles and iii; faithful subjects slain at Floddon.’ He died soon after, for a reference has been found in an old protocol book as to the division of his estate between his relict, Agnes, and David Chepman, his son and heir. He was buried in the aisle he had built, where his arms, quartered with his wife’s, may be seen on a stone discovered in the recent restoration of the church. William Chambers [q. v.], another Scottish printer, the chief restorer of the church, has appropriately placed in it an inscription to the memory of Chepman.
[Laing’s Introduction to reprint of Chepman and Myllar's publications, 1827; Dickson’s Introduction of the Art of Printin into Scotland (1885); Original Records of the Lord High Treasurers and the Privy Council of Scotland.]
CHERBURY or CHIRBURY, DAVID (fl. 1430), bishop of Dromore, was a Carmelite friar, possibly a member of the Oxford house of his order, since he is recorded to have built its library (Tanner, Bibl. Brit. p. 178). He was made bishop of Dromore, probably in 1427, but he must have resigned that see before 1 June 1431, when it is mentioned as vacant. He appears afterwards to have been employed in performing episcopal duties on behalf of Thomas Rodburn, bishop of St. David’s. The date of Cherbury's death is unknown. He was buried in the Carmelite monastery at Ludlow. Leland, in his ‘Commentarii,’ speaks of him as an eminent theologian; but his list of the books found in the Carmelite library at Oxford (Collectanea, iii. 59) contains no works by him, nor have even the titles of any such been preserved.
[Leland's Commentarii de Scriptoribus Britannicis. clxxxiv. p. 473; Sir James Ware, De Præsulibus Hiberniæ, p. 92 (Dublin. 1655, folio); Cotton’s Fasti Ecclesiæ Hibernicæ, iii. 278 (1849).]
CHERMSIDE, Sir ROBERT ALEXANDER, M.D. (1787–1860), physician, son of a medical man, was born in 1787 at Portaferry, co. Down. After education as a surgeon he was appointed in 1810 assistant-surgeon to the 7th hussars. He served throughout the war in the Peninsula, and was at the battle of Water1oo. He took the degree of M.D. at Edinburgh in 1817, reading a thesis of no special merit on cold water as a remedial agent. He became a licentiate of the London College of Physicians in 1821, and soon after went to Paris, where he resided in the Rue Tailbout, and became physician to the English embassy. In 1835 he was made a knight commander of the Guelphic order, and was elected a fellow of the College of Physicians in 1843. He died at Oxford in 1860. His social qualities and lively conversation made him many friends throughout life, and he had a large practice among the English in Paris.
[Munk’s Coll. of Phys. 1878, iii. 231; Madden's Life of the Countess of Blessington.]
CHÉRON, LOUIS (1655–1725), painter and engraver, was born in Paris on 2 Sept. 1655. He was the son of Henri Chéron, a French miniature painter in enamel and an engraver, who died at Lyons in 1677. After having received some instruction from his father, he was enabled by the liberality of his sister to visit Italy, where he particularly studied the works of Raphael and Giulio Romano. On his return to Paris he was in 1687, and again in 1690, commissioned by the corporation of goldsmiths to paint the ‘mai’ which they offered every year on 1 May to the cathedral of Notre-Dame. The subject of the first picture was ‘The Prophet Agabus before Paul;’ that of the second was 'Herodias.' Both are now in the Louvre. Being a Calvinist, he was forced by the religious troubles which followed the revocation of the edict of Nantes to leave France in 1695, when he came to England and found a patron in the Duke of Montagu, for whose mansion at Houghton he painted ‘The Assembly of the Gods,' ‘The Judgment of Paris,’ and other works. He was also employed at Burleigh and Chatsworth, but he fell into discredit when he painted at Montagu House in competition with Rousseau, Baptiste, and Delafosse. His work, however, was not much esteemed; for although his drawing was correct, his composition was tame and inanimate, and his colouring cold and feeble. Subsequently he turned his attention to making designs for the illustration of books, and these are better than his paintings. Among them are designs for an edition of Milton’s ‘Poetical Works’ issued in 1720, and a series of plates to illustrate his sister Sophie’s French version of the Psalms published at Paris in 1694, the latter of which he himself engraved, although in a very indifferrent manner. Robert Dumesnil describes twenty-eight plates by him. Those from his own designs comprise also ‘St. Peter healing the Lame at the Gate of
