l term.

From the architectural point of view the addition of chapels to a
cathedral or large church assumes some historical importance in
consequence of the changes it involved in the plan. It was the
introduction of the apsidal chapels in the churches of France which
eventually led to the _chevet_ or cluster of eastern chapels in many of
the great cathedrals, and also sometimes to the extension of the
transept so as to include additional apsidal chapels on the east side.
In France, and to a certain extent in Italy, the multiplication of
chapels led to their being placed on the north and south side of the
aisles, and in some cases, as at Albi in France, to the suppression of
the aisles and the instalment of the chapels in their place. The chapels
of the colleges at Oxford and Cambridge are sometimes of large
dimensions and architecturally of great importance, that of Christ
Church being actually the cathedral of Oxford; among others may be
mentioned the chapel of Merton College, and the new chapel of Exeter
College, both in Oxford, and the chapel of King's College, Cambridge,
which is roofed over with perhaps the finest fan-vault in England. (See
VAULT, Plate II., fig. 19.)

FOOTNOTE:

[1] The only other English sense is that of a printer's workshop, or
the body of compositors in it, who are presided over by a "father of
the chapel."

CHAPELAIN, JEAN (1595-1674), French poet and man of letters, the son of
a notary, was born in Paris on the 4th of December 1595. His father
destined him for his own profession; but his mother, who had known
Ronsard, had determined otherwise. At an early age Chapelain began to
qualify himself for literature, learning, under Nicolas Bourbon, Greek
and Latin, and teaching himself Italian and Spanish. Having finished his
studies, he was engaged for a while in teaching Spanish to a young
nobleman. He was then appointed tutor to the two sons of a M. de la
Trousse, grand provost of France. Attached for the next seventeen years
to the family of this gentleman, the administration of whose fortune was
wholly in his hands, he seems to have published nothing during this
period, yet to have acquired a great reputation as a probability. His
first work given to the public was a preface for the _Adone_ of Marini,
who printed and published that notorious poem at Paris. This was
followed by an excellent translation of Mateo Aleman's novel, _Guzman de
Alfarache_, and by four extremely