See also:

• FRANCOIS (1558-1614)

FRANCOIS See also:

• FRANCOIS CLOUET (d. 1572)
• CLOUET, JEAN (d. c. 1541)

CLOUET (d. 1572)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• MINIATURE

miniature painter . The earliest reference to him is the document dated See also:

• DECEMBER (Lat. decent, ten)

December 1541 (see See also:

• CLOUET, FRANCOIS (d. 1572)
• CLOUET, JEAN (d. c. 1541)

CLOUET, See also:

• JEAN

JEAN), in which the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king renounces for the benefit of the artist his See also:

• FATHER

father's See also:

• ESTATE (through O. Fr. estat, mod. flat, from Lat. status, state, condition, position, stare, to stand)

estate which had escheated to the See also:

• CROWN

crown as the estate of a foreigner . In it the younger See also:

• JANET, PAUL (1823—1899)

Janet is said to have " followed his father very closely in the See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science of his See also:

• ART

art." Like his father, he held the See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of See also:

• GROOM

groom of the chamber and painter in See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary to the king, and so far as See also:

• SALARY

salary is concerned, he started where his father See also:

• LEFT

left off . A See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of drawings contains those which are attributed to this artist, but we still lack perfect certainty about his See also:

• WORKS

works . There is, however, more to go upon than there was in the See also:

• CASE
• CASE, JOHN (d. 1600)

case of his father, See also:

• COMMON

Common Ci . S . Hazy „ Ribbon Flocculent Ci.-S . Speckle See also:

• CLOUD (from the same root, if not the same word, as " clod," a word common in various forms to Teutonic languages for a mass or lump; it is first applied in the usual sense in the late 13th century; the Anglo-Saxon chid is only used in the sense of " a ma

cloud . Hazy Ci. cu . See also:

• MACKEREL

Mackerel See also:

• SKY (M. Eng. skie, cloud; O. Eng. skua, shade; connected with an Indo-European root sku, cover, whence " scum," Lat. obscurus, dark, &c.)

sky . See also:

• TURRET (from O. Fr. tourette, diminutive of tour, tower, mod. Fr. tourelle)

Turret cloud . High See also:

• BALL (in Mid. Eng. bal; the word is probably cognate with " bale," Teutonic in origin, cf. also Lat. falls, and Gr. 7raXXa)
• BALL, JOHN (1585-1640)
• BALL, JOHN (1818-1889)
• BALL, JOHN (d. 1381)
• BALL, SIR ALEXANDER JOHN, BART
• BALL, THOMAS (1819- )

ball cumulus .

See also:

• FLAT (a modification of O. Eng. flet, an obsolete word of Teutonic origin, meaning the ground beneath the feet)

Flat See also:

• ALTO (Ital. for " high ")

alto-cum . See also:

• ROLL (O. Fr. rolle, roulle, mod. role, Lat. rotulus, dim. of rota, wheel)
• ROLL, ALFRED PHILIPPE (1846– )

Roll cloud . Fall cloud . Small cumulus . Large cumulus . See also:

• STORM (in O. Eng..storm, and so in Du. and Low Ger.; in O. H. Ger. and mod. Ger. Sturm; the root is probably that seen in " stir," to rouse, move, disturb, cf. Ger. storen)
• STORM, THEODOR WOLDSEN (1817-1888)

Storm cloud . a as the praises of See also:

• FRANCOIS (1558-1614)

Francois Clouet were sung by the writers of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, his name was carefully preserved from reign to reign, and there is an See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient and unbroken tradition in the attribution of many of his pictures . There are not, however, any See also:

• ORIGINAL

original attestations of his works, nor are any documents known which would See also:

• GUARANTEE (sometimes spelt " guarantie " or " guaranty "; an O. Fr. form of " warrant," from the Teutonic word which appears in German as wahren, to defend or make safe and binding)

guarantee the ascriptions usually accepted . To him are attributed the portraits of See also:

• FRANCIS
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

Francis I. at the Uffizi and at the Louvre, and various drawings See also:

• RELATING

relating to them . He probably also painted the portrait of See also:

• CATHERINE
• CATHERINE, SAINT

Catherine de' See also:

• MEDICI
• MEDICI, GIACOMO (1817-1882)

Medici at See also:

• VERSAILLES

Versailles and other works, and in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability a large number of the drawings ascribed to him were from his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand . One of his most remarkable portraits is that of See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary, See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen of Scots, a See also:

• DRAWING

drawing in chalks in the Bibliotheque Nationale, and of similar See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character are the two portraits of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles IX. and the one at See also:

• CHANTILLY

Chantilly of See also:

• MARGUERITE

Marguerite of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France . Perhaps his masterpiece is the portrait of See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth of See also:

• AUSTRIA
• AUSTRIA, LOWER (Ger. Niederosterreich or Osterreich unter der Enns, " Austria below the river Enns ")
• AUSTRIA, UPPER (Ger. Oberosterreich or Osterreich ob der Enns, " Austria above the river Enns ")

Austria in the Louvre .

He resided in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris in the See also:

• RUE (Fr. rue, Lat. ruta, from Gr. pur)

rue de Ste Avoye in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple See also:

• QUARTER (through Fr. from Lat. quartarius, fourth part)

quarter, See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close to the Hotel de See also:

• GUISE
• GUISE, HOUSE OF

Guise, and in 1568 is known to have been under the patronage of See also:

• CLAUDE, JEAN (1619-1687)

Claude See also:

• GOUFFIER

Gouffier de Boisy, Seigneur d'See also:

• OIRON

Oiron, and his wife Claude de Baune . Another ascertained fact concerning Francois Clouet is that in 1571 he was " summoned to the office of the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court of the See also:

• MINT
• MINT (Lat. moneta; Mid. Eng. mynt)

Mint," and his See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion was taken on the likeness to the king of a portrait struck by the mint . He prepared the See also:

• DEATH

death-See also:

• MASK (Fr. masque, apparently from med. Lat. mascus, masca, spectre, through Ital. maschera, Span. mascara)

mask of See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry II., as in 1547 he had taken a similar mask of the See also:

• FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face and hands of Francis I., in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the See also:

• PAINTING

painting to be used in the decorations of the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church and the See also:

• BANNERS, FEAST OF (Jap. Nobori-no-Sekku)

banners for the See also:

• GREAT

great ceremony . Several miniatures are believed 'to be his See also:

• WORK

work, one very remarkable portrait being the See also:

• HALF

half-length figure of Henry II. in the collection of Mr J . Pierpont See also:

• MORGAN
• MORGAN, DANIEL (1736-1802)
• MORGAN, EDWIN DENNISON (1811-1883)
• MORGAN, JOHN HUNT (1825-1864)
• MORGAN, JOHN PIERPONT (1837–1913)
• MORGAN, LEWIS HENRY (1818-1881)
• MORGAN, SYDNEY, LADY (c. 1783-1859)
• MORGAN, THOMAS (d. 1743)

Morgan . Another of his portraits is that of the duc d'See also:

• ALENCON

Alencon in the See also:

• JONES
• JONES, ALFRED GILPIN (1824-1906)
• JONES, EBENEZER (182o-186o)
• JONES, ERNEST CHARLES (1819-1869)
• JONES, HENRY (1831-1899)
• JONES, HENRY ARTHUR (1851- )
• JONES, INIGO (1573-1651)
• JONES, JOHN (c. 1800-1882)
• JONES, MICHAEL (d. 1649)
• JONES, OWEN (1741-1814)
• JONES, OWEN (1809-1874)
• JONES, RICHARD (179o-1855)
• JONES, SIR ALFRED LEWIS (1845-1909)
• JONES, SIR WILLIAM (1746-1794)
• JONES, THOMAS RUPERT (1819– )
• JONES, WILLIAM (1726-1800)

Jones collection at See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

South See also:

• KENSINGTON

Kensington, and certain representations of members of the royal See also:

• FAMILY

family which were in the See also:

• HAMILTON
• HAMILTON (GRAND or ASHUANIPI)
• HAMILTON, ALEXANDER (1757-1804)
• HAMILTON, ANTHONY, or ANTOINE (1646-1720)
• HAMILTON, ELIZABETH (1758–1816)
• HAMILTON, EMMA, LADY (c. 1765-1815)
• HAMILTON, JAMES (1769-1831)
• HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
• HAMILTON, JOHN (c. 1511–1571)
• HAMILTON, MARQUESSES AND DUKES OF
• HAMILTON, PATRICK (1504-1528)
• HAMILTON, ROBERT (1743-1829)
• HAMILTON, SIR WILLIAM
• HAMILTON, SIR WILLIAM (1730-1803)
• HAMILTON, SIR WILLIAM ROWAN (1805-1865)
• HAMILTON, THOMAS (1789-1842)
• HAMILTON, WILLIAM (1704-1754)
• HAMILTON, WILLIAM GERARD (1729-1796)

Hamilton See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace collection and the Magniac See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale are usually ascribed to him . He died on the 22nd of December 1572, shortly after the See also:

• MASSACRE

massacre of St See also:

• BARTHOLOMEW, JOHN (1831-1893)
• BARTHOLOMEW, SAINT

Bartholomew, and his will, mentioning his See also:

• SISTER

sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of See also:

• PROPERTY

property, is still in existence . His daughters subsequently became nuns . His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait . He must have been a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits . His colouring is perhaps not specially remarkable, nor from the point of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style can his pictures be considered specially beautiful, but in perfection of drawing he has hardly any equal . To See also:

• MONSIEUR (Fr., formed from men, my, and sieur, lord)

Monsieur See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Dimier, the leading authority upon his works, and to his See also:

• VOLUME

volume on French Painting in the Sixteenth See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

Century, as well as to the works of MM .

Bouchot, La Borde and Maulde-La Claviere, the See also:

• PRESENT

present writer is indebted for the See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information contained in this See also:

• ARTICLE (from Lat. articulus, a joint)

article . (G . C .