PRINTERS AND ENGRAVERS.
ihe style of Pannigiano. He also made designs
for Virgil and for .Ssop's Fables, which were en-
graved by Hollar. Cleyn etched a few plates, which
he sometimes signed with his name, and sometimes
with the initials F. C. and F. K. We have by
him :
A set of five Plates of the Senses, with grotesqne ornaments. The Seven Liberal Arts ; F. Cleyn fecit. 1645 A set of ten Plates of Grotesque Ornaments. His sons, Charles Oletn and John Cleyn, were also painters. They both died young in London. Franz was bom in 1625, and died in 1650. Their sister, Penelope Cleyn, practised miniature paint- ing with great success.
CLIXCHAMP, FEANgois firiESNE Victor, Mar- quis de, a French painter and author, was bom at Toulon in 1787. He was destined to a naval career, but his health failing he went to Paris, where he studied painting under Lebarbier and Girodet. He gave to his native town several reli- gious and historical pictures : ' Christ healing the Sick of the Palsy,' 'The Sons of Zebedee,' 'The Death of Phocion,' ' The Baptism of St. Ma; drier,' and a ' Crucifixion,' which was his best exhibited w^ork. He wrote some works on perspective, and several dramatic pieces. He died in Paris in 1880.
CLINT, Alfred, painter, bom in 1807, was the son ai:d pupil of George Clint, A.R.A. He first appeared at the Acauemy in 1820, with 'A Study from Nature,' and several of his later works were exhibited with that body. He contributed more frequently, however, to the shows of the Britislj Artists, of which society he became a member in 1843, secretary in 1858, and president in 1870. He painted a few portraits early in his career, but his popularity rested chiefl3' on his landscapes and coast studies. In 1849 he published a ' Guide to Oil Painting.' He died in 1883.
CLINT, George, who, like Turner, was the son of a hairdresser, was born in London in 1770. In early life he occupied his leisure hours in miniature painting ; but eventually, he took to it as a profession. His miniatures produced at this period have been highly spoken of. He next be- came acquainted with Mr. Bell, the publisher of the illustrated edition of the British Poets, whose nephew, Edward Bell, a mezzotint engraver, initiated him into the mysteries of engraving. He not only painted miniatures, but made drawings of machinerj' and philosophical apparatus, and engraved in mezzotint, in the chalk style, and in outline. Among his early works are ' The Frightened Horse,' after Stubbs, a chalk engraving ; ' The Entombment of Christ,' after Dietrich ; numerous portraits in the chalk style ; a large bold engrav- ing in mezzotint of the " Death of Nelson ' (1807), after the fine picture painted by W. Drummond, A.R.A. ; and a set of Raphael's Cartoons in outline. He was introduced to Sir Thomas Lawrence, who gave him some of his pictures to engrave. He was also commissioned to engrave ' The Kemble Family,' — containing portraits of John Kemble, Mrs. Siddons, Charles and Stephen Kemble, Blanchard, Wewitzer, Conway, Park (the oboe player). Miss Stephens (afterwards Countess of Essex), and other celebrities — which had been recently painted by Harlow for Tom Welsh the musician, and had created an immense sensation on being exhibited at the Royal Academy. Its popularity was so great that it was engraved three times. Clint painted in water-colour as well as in oil, and his painting-room in Gower Street became thronged with all the distinguished actors and actresses of the day, and with the supporters of the drama. The result of this popularity w.is a series of fine drama- tic pictures which will preserve his name along with that of Zoffany. to whom, in many respects, Clint was superior. The first of these' theatrical subjects was a picture of Farren, Farley, and Jones, as Lord Ogleby, Canton, and Brush, in the comedy of the ' Clandestine Marriage.' Then fol- lowed Munden, Knight, and Mrs. Orger, in ' Lock and Key,' painted for the elder Mathews. This picture secured his election as an Associate of the Royal Academy, in 1821. At this time Welsh proposed to Clint to paint a companion subject to ' The Kemble Family,' — the last scene in ' A New Way to pay Old Debts,' in which Kean as Sir Giles Overreach was drawing all the town — and an admirable picture was the result. The picture of the ' Beggars' Opera,' perpetuating Blanchard, Mrs. Davenport, and Miss M. "Tree, was Clint's next pro- duction. Then followed :
Taylenre, Mrs. Davenport, and Clara Fisher, in the ' Spoilt ChilJ ' ( painted for Lord Liverjxio!). Fawcett and Charles Kemble as Capt.iin Copp and Charles 11. (painted for Jfatheics). filAthews, Listou, and Elanchard, in * Love, Law, and Physic ; ' Mathews as the Lying Valet ; Bartley as Sir John Falstaff; Oxberry as Master Peter: Har- ley as Popolino in 'The Sleeping Dranght; ' Liston and Farren in ' Charles XII.' (painted for Lord £ssex). Miss Foote as Maria Darlington (^painted for Colonel Berkeley). Young as * Hamlet.' Kean as ' Eichard IIL' Macready as ' Macbeth.' Liston, Madame Vestris, Miss Glover, and 'WilUams, in 'Paul Pry.' 1831. In the South Kensington Museum. Charles Young as ' Hamlet,' and Miss Glover as ' Opheh'a.' 1831. In the South Kensington JIuseum.
Many of this interesting series of pictures, representing a phase in our drama which has since entirely passed away, ornament the walls of the Garrick Club. FalstaflE and Mistress Ford by him is in the National Gallery. The talent displayed by Clint procured him the friendship of Lawrence, Beechey, Mulready, Stanfield, Roberts, and other members of the Ro3'al Academy. But, in spite of all, Clint remained for sixteen years an Associate, and never attained the higher rank of Academician. Younger men passed over his head, and some less worthy of the honour than himself. At last, finding the efiorts of his friends of no avail, he determined to resign his position as an Associate, which he did in 1835. He died at Kensington in 1854. In portrait painting Clint was eminently successful : his men were gen- tlemen, and his ladies modest and charming. Associated with Mulready, Cooper, and other distinguished artists, he laboured unceasingly to establish those valuable institutions, the Artists' Benevolent and Annuity Funds. He had four sons, of whom Lcke, the eldest, after giving great promise as a scene-painter, died young. Raphael was a gem-engraver, and possessed considerable talent. SciPio disringuished himself as a medallist, and died in 1839, aged 34, just as patronage was about to be bestowed on him.
CLOCHE, C, was a French engraver, who flourished about the year 1616. He engraved amongst other plates a portrait of Jean Boisteau de La Broderie, and a view of the city of Rennes.
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