Part 23

CLOUD-BURST, a sudden and violent storm of rain. The name probably originated from the idea that the clouds were solid masses full of water that occasionally burst with disastrous results. A whirlwind passing over the sea sometimes carries the water upwards in a whirling vortex; passing over the land its motion is checked and a deluge of water falls. Occasionally on high lands far from the sea violent storms occur, with rain that seems to descend in sheets, sweeping away bridges and culverts and tearing up roads and streets, being due to great and rapid condensation and vortical whirling of the resulting heavy clouds (see METEOROLOGY).

CLOUDED LEOPARD (_Felis nebulosa_ or _macroscelis_), a large arboreal cat from the forests of south-east Asia, Sumatra, Java, Borneo and Formosa. This cat, often called the clouded tiger, is beautifully marked, and has an elongated head and body, long tail and rather short limbs. The canine teeth are proportionately longer than in any other living cat. Little is known of the habits of the clouded leopard, but it preys on small mammals and birds, and rarely comes to the ground. The native Malay name is _Arimaudahan_ ("tree-tiger"). The species is nearly related to the small Indian marbled cat (_F. marmorata_), and Fontaniers cat (_F. tristis_) of Central Asia. (R. L.*)

CLOUET, FRANÇOIS (d. 1572), French miniature painter. The earliest reference to him is the document dated December 1541 (see CLOUET, JEAN), in which the king renounces for the benefit of the artist his father's estate which had escheated to the crown as the estate of a foreigner. In it the younger Janet is said to have "followed his father very closely in the science of his art." Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. A long list of drawings contains those which are attributed to this artist, but we still lack perfect certainty about his works. There is, however, more to go upon than there was in the case of his father, as the praises of François Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I. at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de' Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliothèque Nationale, and of similar character are the two portraits of Charles IX. and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre.

He resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hôtel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d'Oiron, and his wife Claude de Baune. Another ascertained fact concerning François Clouet is that in 1571 he was "summoned to the office of the Court of the Mint," and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II., as in 1547 he had taken a similar mask of the face and hands of Francis I., in 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 painting to be used in the decorations of the church and the banners for the great ceremony.

Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II. in the collection of Mr J. Pierpont Morgan. Another of his portraits is that of the duc d'Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of 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 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 style can his pictures be considered specially beautiful, but in perfection of drawing he has hardly any equal.

To Monsieur Louis Dimier, the leading authority upon his works, and to his volume on _French Painting in the Sixteenth Century_, as well as to the works of MM. Bouchot, La Borde and Maulde-La Clavière, the present writer is indebted for the information contained in this article. (G. C. W.)

CLOUET, JEAN (d. c. 1541). French miniature painter, generally known as JANET. The authentic presence of this artist at the French court is first to be noted in 1516, the second year of the reign of Francis I. By a deed of gift made by the king to the artist's son of his father's estate, which had escheated to the crown, we learn that he was not actually a Frenchman, and never even naturalized. He is supposed to have been a native of the Low Countries, and probably his real name was Clowet. His position was that of groom of the chamber to the king, and he received a stipend at first of 180 livres and later of 240. He lived several years in 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 residence in the same town in 1523, but in 1529 they were both settled in Paris, probably in the neighbourhood of the parish of Ste Innocent, in the cemetery of which they were buried. He stood godfather at a christening on the 8th of July 1540, but was no longer living in December 1541, and therefore died between those two dates.

His brother, known as CLOUET DE NAVARRE, was in the service of Marguérite d'Angoulême, sister of Francis I., and is referred to in a letter written by Marguérite about 1529. Jean Clouet had two children, François and Catherine, who married Abel Foulon, and left one son, who continued the profession of François Clouet after his decease. Jean Clouet was undoubtedly a very skilful portrait painter, but it must be acknowledged without hesitation that there is no work in existence which has been proved to be his. There is no doubt that he painted a portrait of the mathematician, Oronce Finé, in 1530, when Finé was thirty-six years old, but the portrait is now known only by a print. Janet is generally believed, however, to have been responsible for a very large number of the wonderful portrait drawings now preserved at Chantilly, and at the Bibliothèque Nationale, and to him is attributed the portrait of an unknown man at Hampton Court, that of the dauphin Francis, son of Francis I. at Antwerp, and one other portrait, that of Francis I. in the Louvre.

Seven miniature portraits in the _Manuscript of the Gallic War_ in the Bibliothèque Nationale (13,429) are attributed to Janet with very strong probability, and to these may be added an eighth in the collection of Mr J. Pierpont Morgan, and representing Charles de Cossé, Maréchal de 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 execution is delicate and smooth, the outlines hard, the texture pure, and the whole work elaborately and very highly finished in rich, limpid colour. The chalk drawings are of remarkable excellence, the medium being used by the artist with perfect ease and absolute sureness, and the mingling of colour being in exquisite taste, the modelling exceedingly subtle, and the drawing careful, tender and emphatic. The collection of drawings preserved in France, and attributed to this artist and his school, comprises portraits of all the important persons of the time of Francis I. In one 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 life of his time and court. Definite 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 chambers to the king.

The chief authority in France on the work of this artist is Monsieur Louis Dimier, and to his works, and to information derived direct from him, the present writer is indebted for almost all the information given in this article. (G. C. W.)

CLOUGH, ANNE JEMIMA (1820-1892), English educationalist, was born at Liverpool on the 20th of January 1820, the daughter of a cotton merchant. She was the sister of Arthur Hugh Clough, the poet. When two years old she was taken with the rest of the family to Charleston, South Carolina. It was not till 1836 that she returned to England, and though her ambition was to write, she was occupied for the most part in teaching. Her father's failure in business led her to open a school in 1841. This was carried on until 1846. In 1852, after making some technical studies in London and working at the Borough Road and the Home and Colonial schools, she opened another small school of her own at Ambleside in Westmorland. Giving this up some ten years later, she lived for a time with the widow of her brother Arthur Hugh Clough--who had died in 1861--in order that she might educate his children. Keenly interested in the education of women, she made friends with Miss Emily Davies, Madame Bodichon, Miss Buss and others. After helping to found the North of England council for promoting the higher education of women, she acted as its secretary from 1867 to 1870 and as its president from 1873 to 1874. When it was decided to open a house for the residence of women students at Cambridge, Miss Clough was chosen as its first principal. This hostel, started in Regent Street, Cambridge, in 1871 with five students, and continued at Merton Hall in 1872, led to the building of Newnham Hall, opened in 1875, and to the erection of Newnham College on its present basis in 1880. Miss Clough's personal charm and high aims, together with the development of Newnham College under her care, led her to be regarded as one of the foremost leaders of the women's educational movement. She died at Cambridge on the 27th of February 1892. Two portraits of Miss Clough are at Newnham College, one by Sir W. B. Richmond, the other by J. J. Shannon.

See _Memoir of Anne Jemima Clough_, by Blanche Athena Clough (1897).

CLOUGH, ARTHUR HUGH (1819-1861), English poet, was born at Liverpool on the 1st of January 1819. He came of a good Welsh stock by his father, James Butler Clough, and of a Yorkshire one by his mother, Anne Perfect. In 1822 his father, a cotton merchant, moved to the United States, and Clough's childhood was spent mainly at Charleston, South Carolina, much under the influence of his mother, a cultivated woman, full of moral and imaginative enthusiasm. In 1828 the family paid a visit to England, and Clough was left at school at Chester, whence he passed in 1829 to Rugby, then under the sway of Dr Thomas Arnold, whose strenuous views on life and education he accepted to the full. Cut off to a large degree from home relations, he passed a somewhat reserved and solitary boyhood, devoted to the well-being of the school and to early literary efforts in the _Rugby Magazine_. In 1836 his parents returned to Liverpool, and in 1837 he went with a scholarship to Balliol College, Oxford. Here his contemporaries included Benjamin Jowett, A. P. Stanley, J. C. Shairp, W. G. Ward, Frederick Temple and Matthew Arnold.

Oxford, in 1837, was in the full swirl of the High Church movement led by J. H. Newman. Clough was for a time carried away by the flood, and, although he recovered his equilibrium, it was not without an amount of mental disturbance and an expenditure of academic time, which perhaps accounted for his failure to obtain more than a second class in his final examination. He missed a Balliol fellowship, but obtained one at Oriel, with a tutorship, and lived the Oxford life of study, speculation, lectures and reading-parties for some years longer. Gradually, however, certain sceptical tendencies with regard to the current religious and social order grew upon him to such an extent as to render his position as an orthodox teacher of youth irksome, and in 1848 he resigned it. The immediate feeling of relief showed itself in buoyant, if thoughtful, literature, and he published poems both new and old. Then he travelled, seeing Paris in revolution and Rome in siege, and in the autumn of 1849 took up new duties as principal of University Hall, a hostel for students at University College, London. He soon found that he disliked London, in spite of the friendship of the Carlyles, nor did the atmosphere of Unitarianism prove any more congenial than that of Anglicanism to his critical and at bottom conservative temper. A prospect of a post in Sydney led him to engage himself to Miss Blanche Mary Shore Smith, and when it disappeared he left England in 1852, and went, encouraged by Emerson, to Cambridge, Massachusetts. Here he remained some months, lecturing and translating Plutarch for the book-sellers, until in 1853 the offer of an examinership in the Education Office brought him to London once more. He married, and pursued a steady official career, diversified only by an appointment in 1856 as secretary to a commission sent to study certain aspects of foreign military education. At this, as at every period of his life, he enjoyed the warm respect and admiration of a small circle of friends, who learnt to look to him alike for unselfish sympathy and for spiritual and practical wisdom. In 1860 his health began to fail. He visited first Malvern and Freshwater, and then the East, France and Switzerland, in search of recovery, and finally came to Florence, where he was struck down by malaria and paralysis, and died on the 13th of November 1861. Matthew Arnold wrote upon him the exquisite lament of _Thyrsis_.

Shortly before he left Oxford, in the stress of the Irish potato-famine, Clough wrote an ethical pamphlet addressed to the undergraduates, with the title, _A Consideration of Objections against the Retrenchment Association at Oxford_ (1847). His Homeric pastoral _The Bothie of Toper-na-Fuosich_, afterwards rechristened _Tober-na-Vuolich_ (1848), was inspired by a long vacation after he had given up his tutorship, and is full of socialism, reading-party humours and Scottish scenery. _Ambarvalia_ (1849), published jointly with his friend Thomas Burbidge, contains shorter poems of various dates from 1840, or earlier, onwards. _Amours de Voyage_, a novel in verse, was written at Rome in 1849; _Dipsychus_, a rather amorphous satire, at Venice in 1850; and the idylls which make up _Mari Magno, or Tales on Board_, in 1861. A few lyric and elegiac pieces, later in date than the _Ambarvalia_, complete the tale of Clough's poetry. His only considerable enterprise in prose was a revision of the 17th century translation of Plutarch by Dryden and others, which occupied him from 1852, and was published as _Plutarch's Lives_ (1859).

No part of Clough's life was wholly given up to poetry, and he probably had not the gift of detachment necessary to produce great literature in the intervals of other occupations. He wrote but little, and even of that little there is a good deal which does not aim at the highest seriousness. He never became a great craftsman. A few of his best lyrics have a strength of melody to match their depth of thought, but much of what he left consists of rich ore too imperfectly fused to make a splendid or permanent possession. Nevertheless, he is rightly regarded, like his friend Matthew Arnold, as one of the most typical English poets of the middle of the 19th century. His critical instincts and strong ethical temper brought him athwart the popular ideals of his day both in conduct and religion. His verse has upon it the melancholy and the perplexity of an age of transition. He is a sceptic who by nature should have been with the believers. He stands between two worlds, watching one crumble behind him, and only able to look forward by the sternest exercise of faith to the reconstruction that lies ahead in the other. On the technical side, Clough's work is interesting to students of metre, owing to the experiments which he made, in the _Bothie_ and elsewhere, with English hexameters and other types of verse formed upon classical models.

Clough's _Poems_ were collected, with a short memoir by F. T. Palgrave, in 1862; and his _Letters and Remains_, with a longer memoir, were privately printed in 1865. Both volumes were published together in 1869 and have been more than once reprinted. Another memoir is _Arthur Hugh Clough: A Monograph_ (1883), by S. Waddington. Selections from the poems were made by Mrs Clough for the Golden Treasury series in 1894, and by E. Rhys in 1896. (E. K. C.)

CLOUTING, the technical name given to a light plain cloth used for covering butter and farmers' baskets, and for dish and pudding cloths. The same term is often given to light cloths of the nursery diaper pattern.

CLOVELLY, a fishing village in the Barnstaple parliamentary division of Devonshire, England, 11 m. W.S.W. of Bideford. Pop. (1901) 621. It is a cluster of old-fashioned cottages in a unique position on the sides of a rocky cleft in the north coast; its main street resembles a staircase which descends 400 ft. to the pier, too steeply to allow of any wheeled traffic. Thick woods shelter it on three sides, and render the climate so mild that fuchsias and other delicate plants flourish in midwinter. All Saints' church, restored in 1866, is late Norman, containing several monuments to the Carys, lords of the manor for 600 years. The surrounding scenery is famous for its richness of colour, especially in the grounds of Cary Court, and along "The Hobby," a road cut through the woods and overlooking the sea. Clovelly is described by Dickens in A Message from the Sea.

CLOVER, in botany, the English name for plants of the genus _Trifolium_, from Lat. _tres_, three, and _folium_, a leaf, so called from the characteristic form of the leaf, which has three leaflets (trifoliate), hence the popular name trefoil. It is a member of the family _Leguminosae_, and contains about three hundred species, found chiefly in north temperate regions, but also, like other north temperate genera, on the mountains in the tropics. The plants are small annual or perennial herbs with trifoliate (rarely 5- or 7-foliate) leaves, with stipules adnate to the leaf-stalk, and heads or dense spikes of small red, purple, white, or rarely yellow flowers; the small, few-seeded pods are enclosed in the calyx. Eighteen species are native in Britain, and several are extensively cultivated as fodder-plants. _T. pratense_, red or purple clover, is the most widely cultivated.

This plant, either sown alone or in mixture with rye-grass, has for a long time formed the staple crop for soiling; and so long as it grew freely, its power of shooting up again after repeated mowings, the bulk of crop thus obtained, its palatableness to stock and feeding qualities, the great range of soils and climate in which it grows, and its fitness either for pasturage or soiling, well entitled it to this preference. Except on certain rich calcareous clay soils, it has now, however, become an exceedingly precarious crop. The seed, when genuine, which unfortunately is very often not the case, germinates as freely as ever, and no greater difficulty than heretofore is experienced in having a full plant during autumn and the greater part of winter; but over most part of the country, the farmer, after having his hopes raised by seeing a thick cover of vigorous-looking clover plants over his field, finds to his dismay, by March or April, that they have either entirely disappeared, or are found only in capricious patches here and there over the field. No satisfactory explanation of this "clover-sickness" has yet been given, nor any certain remedy, of a kind to be applied to the soil, discovered. One important fact is, however, now well established, viz. that when the cropping of the land is so managed that clover does not recur at shorter intervals than eight years, it grows with much of its pristine vigour. The knowledge of this fact now determines many farmers in varying their rotation so as to secure this important end. At one time there was a somewhat prevalent belief that the introduction of beans into the rotation had a specific influence of a beneficial kind on the clover when it came next to be sown; but the true explanation seems to be that the beans operate favourably only by the incidental circumstance of almost necessarily lengthening the interval betwixt the recurrences of clover.

When the four-course rotation is followed, no better plan of managing this process has been yet suggested than to sow beans, pease, potatoes or tares, instead of clover, for one round, making the rotation one of eight years instead of four. The mechanical condition of the soil seems to have something to do with the success or failure of the clover crop. We have often noticed that headlands, or the converging line of wheel-tracks near a gateway at which the preceding root crop had been carted from a field, have had a good take of clover, when on the field generally it had failed. In the same way a field that has been much poached by sheep while consuming turnips upon it, and which has afterwards been ploughed up in an unkindly state, will have the clover prosper upon it, when it fails in other cases where the soil appears in far better condition. If red clover can be again made a safe crop, it will be a boon indeed to agriculture. Its seeds are usually sown along with a grain crop, any time from the 1st of February to May, at the rate of 12 lb to 20 lb per acre when not combined with other clovers or grasses.

Italian rye-grass and red clover are now frequently sown in mixture for soiling, and succeed admirably. It is, however, a wiser course to sow them separately, as by substituting the Italian rye-grass for clover, for a single rotation, the farmer not only gets a crop of forage as valuable in all respects, but is enabled, if he choose, to prolong the interval betwixt the sowings of clover to twelve years, by sowing, as already recommended, pulse the first round, Italian rye-grass the second, and clover the third.