CALLIXTUS
188
OALLY
Scanderbeg was still in the field, but with the small
forces at his command he could at most hope to
defend his country, Albania, against attack. The
pope was involved in new disputes after the death
of Alfonso V of Aragon. According to the arrange-
ments made, the latter's brother was to succeed him
in Aragon and Sicily, while his son Ferdinand,
previously recognized as legitimate by Callistus III,
was to have Naples. But the pope refused to ac-
knowledge Ferdinand's claim to Naples and, as
feudal lord of the territory, asserted for himself the
power of disposing of it as he wished. This dispute
prevented him from continuing the work of organiz-
ing the Crusade and alienated from the cause the
powerful family of Aragon.
Moreover, it injured the reputation of Callistus III, as it gave more colour to the charges of nepotism which were even then freely levelled against him. He had already raised to the cardinalate two of his nephews, one of whom, the youthful Rodrigo, was later to become Pope Alexander VI; he bestowed upon a third the governorship of the Castle of Sant' Angelo and the title of Duke of Spoleto. Many asserted that his opposition to Ferdinand of Aragon was due to his desire of securing Naples for the worthless Duke of Spoleto. In this way the early part of 1458 was spent, and during the last few months of his life even Callistus himself had begun to clearly realize that the work to which he had devoted his pontificate had proved a failure, and that on other shoulders must devolve the task of driving back the Turk.
His reign is also remarkable for the revision of the trial of Joan of Arc, which was carried out by direc- tion of the pope, and according to which the sen- tence of the first court was quashed, and the innocence of the Maid of Orleans proclaimed. He also had the honour of placing the name of Osmund, Bishop of Salisbury, on the list of canonized saints. The energies of Callistus were too much directed towards the campaign against the Turks to permit him to devote so much attention to the literary revival of the time as did some of his predecessors, especially Nicholas V, and this neglect of the Humanists made some of them his enemies; yet he seems to have spent a considerable sum of money in securing some valuable additions to the treasures of the Vatican.
Callistus III must ever be regarded as a man of lofty ideals, of boundless courage, energy, and perseverance. He realized the dangers which then confronted Europe, and made every effort to unite its Christian princes for the defence of their own countries; if he failed, the blame must fall not on the pope, but on those who refused to hearken to his counsels. It is unfortunate that a character, otherwise straightforward and unsullied, should have been damaged by contemporary charges of nepotism and avarice. He left, at his death, a rather remarkable sum of money. His letters are to be found in Raynaldus, " Annalcs Eccl.", from 1455 to 1458; see also Harduin, "Concilia", IX, 1375-78, D'Achery, "Spicilegium", III (Paris ed. 796-804), and "Magn. Bullar. Rom." (Lyons, 1692), I, 279-82.
Harduin, Concilia, IX. 1375; Pastor, tr. Antrobus,
History of the Popes (Lon.lon. 1K'.I-1 1. 1 1 1 . < // /,,../,,/
the Papacy during the Reformation. Ill, IV; Hl.UME, Iter Itali- cum. Ill; Keumont, (Icschichti ./, r Sta.lt Rom (Berlin lSlisi, III; 126 aq ; Hefele, Concilieng., VIII, 74 sqq.
James MacCaefrey.
Callixtus. See Callistus.
Callot, Jacques, a French etcher, engraver, and painter, b. at Nancy, France, 1592: d. in t lie same city, 28 March, 1635. His father was Jean Callot, a noble, the herald-at-arms for Lorraine, who desired that his son should become a soldier or a priest. But the boy's inclinations for art were so intense, and he was so precocious that parental wishes were of no
avail. His work even as a schoolboy showed a
grasp of human character, and the bizarre and
humorous, particularly in people of the lower
orders, attracted him. Before he was twelve years
old he had studied design, wherein he was so soon to
become a master, and had received aid from Henriet
Israel, son of the Lorraine court-painter, and from
Dumange Crocq, the royal engraver.
In 1604 he ran away to Italy in the company of a band of gypsies, hoping to reach the goal of his ambition, Rome. He stopped in Florence and studied engraving under the celebrated Remigio Gallina, and copied the work of the masters, thus tempering his love for the grotesque. The young runaway was soon sent home, to the joy of his parents, but his father finally consented to his accompanying the envoy of Duke Henry II to the Papal Court. In Rome he practised engraving and etching and in- vented a hard varnish for grounding copper-plates. When he left Italy (1621 or 1622) his fame was already great, and it soon became world-wide. He engraved for the Infanta Eugenia in Brussels and for Louis XIII in Paris. It is said that when the French monarch in 1633 commanded Callot to en- grave a plate commemorative of the fall of Nancy the artist cried that he "would rather cut off his right hand than use it on such a work".
If little is known of his intimate life and traits, his 1600 plates afford full information concerning the artistic side of his career. Callot was often ugly in his realism, but he was a master of the art of de- sign, clear in drawing, fertile in invention, precise in line, and varied in his style. The freedom and naivete 1 in his small figures, the lifelike manner in which he treated them, and the certainty with which he arranged complicated groups made him the pioneer of methods followed by Rembrandt and his forerunners. The Macabcresque note in medieval art is dominant in his work, and there is a piquancy and newness given to the slightest details. A pe- culiarity in nearly all his figures is the smallness of the heads in proportion to the bodies. His land- scapes are inferior to his figure-pieces and archi- tectural plates, though the latter are of great historical and topographical interest ("La Tour de Nesle" with "the Old Louvre"). No authentic finished painting by Callot exists among the great col- lections, and it is very doubtful if he ever com- pleted a work in oil. This master of the grotesque and humorous was the father of etching in France, and his fame comes from his etchings, which are better than his engravings. He frequently spoiled his splendid point-work with the burin, and his reputation as an aquafortist depends, therefore, more on what he did than on how he did it. Notable among his works are eighteen plates entitled "The Miseries of War"; twenty-five plates of beggars; "The Holy Family"; "Cosmo III, Grand Duke of Tuscany"; "Charles III of Lorraine". His last years were spent industriously in Nancy, where he died. He was buried in the church of the Francis- cans (Cordeliers). He was noted for his loyalty and courage as a subject of Lorraine, and for his generosity, probity, and kindness of heart as a citizen.
Meaumk. Reeherehes sor la vie et les ourrages de Jacques Callot (Paris, INCH); Dielooinairc general des artistes dc iecole fran^aise, s. v. (Paris, 18S2).
Leigh Hunt.
Cally, Pierre, philosopher and theologian, b. at Mesnil-Hubert, department of Orne, France, date of birth uncertain; d. 33 December, 1709. In 1660 he
was appointed professor of philosophy and eloquence in the University of Caen, and in 1675 president of the College des Arls in the same city. In 1684 he as- sumed charge of the parish of Saint-Martin. He wrote a course of philosophy, "Universal philosophise institutiones" (Caen, 1695), in which the theories of
