. The Catholic encyclopedia (Volume 4); an international work of reference on the constitution, doctrine, discipline and history of the Catholic Church . vicoCarracci. Meyer, Geschichte der franzosischen Malerei (Leipzig, 1867);see, also, bibliography under Corneille, Michel (the Younger). Leigh Hunt. Corneille, Pierre, a French dramatist, b. atRouen, 6 June, 1606; d. at Paris, 1 October, father, Pierre Corneille, was avocat du roi andmaitre des eaux et jorets in the Vicomt6 of mother, Marthe Lepesant, belonged to an oldfamily of Normandy. He was educated at the Jesuitcolleg
. The Catholic encyclopedia (Volume 4); an international work of reference on the constitution, doctrine, discipline and history of the Catholic Church . vicoCarracci. Meyer, Geschichte der franzosischen Malerei (Leipzig, 1867);see, also, bibliography under Corneille, Michel (the Younger). Leigh Hunt. Corneille, Pierre, a French dramatist, b. atRouen, 6 June, 1606; d. at Paris, 1 October, father, Pierre Corneille, was avocat du roi andmaitre des eaux et jorets in the Vicomt6 of mother, Marthe Lepesant, belonged to an oldfamily of Normandy. He was educated at the Jesuitcollege in Rouen, studied law at Caen, and was ad-mitted to the Bar in 1624. Four years later he wasgranted the office of Advocate to the the duties of his charge allowed him leisure enough to follow his poetical voca-tion, he soon quittedtlie Bar and wentto Paris, in first comedyhe produced, M6-lite (1629), metwith so great a suc-cess that he resolvedto write for thestage. Other playsfollowed rapidly:■Clitandre(1632),La Veuve, Lagalerie du palais(1633), La sui-vante, La placeroyale (16 3 4),MM6e (), Lillusion comique. Pierre Corneille(1636). Cardinal Richelieu, who took a great interest in dramatic matters andwas even the writer of several plays, realized thatthe young author had some talent and enrolled him,in 1633, among the five authors, whose functionsconsisted in revising and polishing the plays writtenby the great politician. Corneille was too indepen-dent a genius to get along easily with the autocraticplaywright; he was dismissed, in 1635, because hehad no esprit-de suite, and returned to Rouen. The year 1636 saw the production of Le Cid,which marked the beginning of a new epoch in theFrench drama. Its remarkable success arousedRichelieus anger and jealousy to such a degree thatthe French Academy, which was so much indebted tothe great cardinal, was obliged to criticize the play ina public pamphlet, known as Les sentiments deIAcad^mie sur
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