See also:

• JEAN

JEAN See also:

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

CLOUET (d. c. 1541)  . See also:

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

French See also:

• MINIATURE

miniature painter, generally known as See also:

• JANET, PAUL (1823—1899)

JANET . The See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic presence of this artist at the French 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 is first to be noted in 1516, the second See also:

• YEAR

year of the reign 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 . By a See also:

• DEED (in O. Eng. dead, from the stem of the verb " to do ")

deed of See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift made by 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 to the artist's son of 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, we learn that he was not actually a Frenchman, and never even naturalized . He is supposed to have been a native of the See also:

• LOW, SETH (1850- )
• LOW, WILL HICOK (1853- )

Low Countries. and probably his real name was Clowet . His position was that of See also:

• GROOM

groom of the chamber to the king, and he received a See also:

• STIPEND

stipend at first of 18o livres and later of 240 . He lived several years in See also:

• TOURS

Tours, and there it was he met his wife, who was the daughter of a jeweller . He is recorded as living in Tours in 1522, and there is a reference to his wife's See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence in the same See also:

• TOWN

town in 1523, but in 1529 they were both settled 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, probably in the neighbourhood of the See also:

• PARISH (Gr. irapouda, district, neighbourhood; 7r&poucos, one dwelling near or beside, from crap&, OtKOS, house; Lat. paroecur, Late Lat. parochia; cf. Fr. paroisse)

parish of Ste Innocenti, in the See also:

• CEMETERY (Gr. Korrsnri7pwv, from Hoiµav, to sleep)

cemetery of which they were buried . He stood godfather at a christening on the 8th of See also:

• JULY

July 1540, butwas no longer living in See also:

• DECEMBER (Lat. decent, ten)

December 1541, and therefore died between those two See also:

• DATES

dates . His See also:

• BROTHER

brother, known as See also:

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

CLOUET DE See also:

• NAVARRE (Span. Navarra)

NAVARRE, was in the service of See also:

• MARGUERITE

Marguerite d'See also:

• ANGOULEME
• ANGOULEME, CHARLES DE VALOIS, DUKE OF (1573-1650)

Angouleme, See also:

• SISTER

sister of Francis I., and is referred to in a See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter written by Marguerite about 1529 . See also:

• JEAN

Jean Clouet had two See also:

• CHILDREN, LAW RELATING TO

children, See also:

• FRANCOIS (1558-1614)

Francois and See also:

• CATHERINE
• CATHERINE, SAINT

Catherine, who married See also:

• ABEL (better ABELL), THOMAS (d. 1540)
• ABEL (Hebrew for breath)
• ABEL, KARL FRIEDRICH (1725-1787)
• ABEL, NIELS HENRIK (1802-1829)
• ABEL, SIR FREDERICK AUGUSTUS, BART

Abel Foulon, and See also:

• LEFT

left one son, who continued the profession of Francois Clouet after his decease . Jean Clouet was undoubtedly a very skilful portrait painter, but it must be acknowledged without hesitation that there is no See also:

• WORK

work in existence which has been proved to be his .

There is no doubt that he painted a portrait of the mathematician, Oronce See also:

• FINE

Fine, in 1530, when Fine was See also:

• THIRTY

thirty-six years old, but the portrait is now known only by a See also:

• PRINT

print . Janet is generally believed, however, to have been responsible for a very large number of the wonderful portrait drawings now preserved at See also:

• CHANTILLY

Chantilly, and at the Bibliotheque Nationale, and to him is attributed the portrait of an unknown See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man at See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton Court, that of the dauphin Francis, son of Francis I. at See also:

• ANTWERP
• ANTWERP (Fr. Anvers)

Antwerp, and one other portrait, that of Francis I. in the Louvre . Seven miniature portraits in the See also:

• MANUSCRIPT

Manuscript of the Gallic See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War in the Bibliotheque Nationale (13,429) are attributed to Janet with very strong See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability, and to these may be added an eighth 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, and representing 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 de Cosse, Marechal de See also:

• BRISSAC, DUKES OF

Brissac, identical in its characteristics with the seven already known . There are other miniatures in the collection of Mr Morgan, which may be attributed to Jean Clouet with some strong degree of probability, inasmuch as they closely resemble the portrait drawings at Chantilly and in Paris which are taken to be his work . In his oil paintings the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution is delicate and smooth, the outlines hard, the texture pure, and the whole work elaborately and very highly finished in See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich, limpid See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . The See also:

• CHALK

chalk drawings are of remarkable excellence, the See also:

• MEDIUM

medium being used by the artist with perfect ease and See also:

• ABSOLUTE (Lat. absolvere, to loose, set free)

absolute sureness, and the mingling of colour being in exquisite See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, the modelling exceedingly subtle, and the See also:

• DRAWING

drawing careful, See also:

• TENDER

tender and emphatic . The collection of drawings preserved in See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France, and attributed to this artist and his school, comprises portraits of all the important persons of the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of Francis I . In one See also:

• ALBUM (Lat. albus, white)

album of drawings the portraits are annotated by the king himself', and his merry reflections, stinging taunts or biting satires, add very largely to a proper understanding of the See also:

• LIFE

life of his time and court . Definite See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence, however, is still lacking to establish the attribution of the best of these drawings and of certain oil paintings to the Jean Clouet who was groom of the See also:

• CHAMBERS (the Fr. chambre, from Lat. camera, a room)
• CHAMBERS, EPHRAIM (d. 1740)
• CHAMBERS, GEORGE (1803-1840)
• CHAMBERS, ROBERT (18oz-1871)
• CHAMBERS, SIR WILLIAM (1726-1796)

chambers to the king . The See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief authority in France on the work of this artist is 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, and to his See also:

• WORKS

works, and to See also:

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

information derived See also:

• DIRECT

direct from him, the See also:

• PRESENT

present writer is indebted for almost all the information given in this See also:

• ARTICLE (from Lat. articulus, a joint)

article . (G .

C .