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and brought up by him to his profession, were distinguished as draftsmen and miniature painters. Evelyn, in his 'Sculpture,' speaks of them as 'hopeful but now deceased brothers,' and greatly praises their drawings from the cartoons. Francis, born in 1625, died October 21, 1650; and John, the youngest brother, also died young. They both died in London. Their sister Penelope is said to have been a miniature painter; and some miniatures, like Coopers in manner, with the initials P.O., have been thought possibly her work.
CLINT, George, A.R.A., portrait painter and engraver. Was born in Brownlow Street, Holborn, where his father kept a hair-dresser's shop, April 12, 1770. He was apprenticed to a fishmonger, but left that trade in disgust and found some employment in an attorney's office. Then his conscience revolting against his work, he tried house painting, and soon after married. He next tried his hand at art, and finally abandoning house painting, he with a young family underwent acute privations; but he made rapid progress as a miniature painter, and at last succeeded, his works possessing great skill in execution, with a delicate feeling for beauty. After this he took up engraving in mezzotint, and tried both the chalk manner and outline. He engraved 'The Frightened Horse,' after Stubbs, an entombment, many portraits, some prints for Sir Thomas Lawrence, which resulted in a disagreement, and in 1807, 'The Death of Nelson,' after Drummond, A. R. A. But he did not find full employment, and to eke out his means he made for sale copies by the dozen from popular subjects by Morland and others. About this time he engaged to mezzo-tint Harlow's 'Kemble Family,' and produced a successful plate, which was so popular that it was re-engraved three times. He had painted a portrait of his wife, and was greatly encouraged by the kind, opinion of Sir William Beecney, K. A.; and the completion of Harlow's picture bringing him into connection with many players and lovers of the drama, he commenced a series of dramatic scenes with portraits of favourite actors, which gained him so much reputation and were so popular that they led to his election as associate of the Royal Academy in 1821. Of these we may point to his 'Hamlet and Ophelia,' 'Paul Pry' and the 'Honeymoon,' in the Sheepshanks Gallery; and his 'Falstaff and Mrs. Ford' in the Vernon Gallery at South Kensington. He also painted the portraits of several persons of distinction; but he did not attain the higher rank of academician. Young men pressing on passed over his head—he thought himself slighted, and in 1835 he resigned his position of associate, and became an angry opponent of the Academy. Not long after this he retired from his profession and lived at Peckham, on the savings from his works and some property derived from a second marriage. Later he removed to Pembroke Square, Kensington, where he died May 10, 1854, in his 85th year. He was successful as a portrait painter, and in his subject pictures has perpetuated a generation of dramatic celebrities, cleverly grouped and expressed. His colour was tame and lacked richness and variety, and there was a character of feebleness in his art. His mezzo-tint was good, bold—perhaps wanting in finish, but artistic.
CLINT, Scipio, medallist. Son of the foregoing. He gained a medal at the Society of Arts in 1824, and the following year exhibited for the first time at the Academy. In 1830 he exhibited his dies for a medal of Sir Thomas Lawrence. He was appointed medallist to the King, and was attaining distinction in his art, when he died on August 6, 1839, at the age of 34, just as employment was beginning to promise a successful career.
CLOOS, Nicholas, 'surveyor,' a term synonymous with architect. Was of Flemish extraction, and held the cure of the church of St. John the Baptist, Cambridge, which was pulled down to make room for King's College Chapel. Of this great example of English art he was the architect; and was in 1443 one of the six fellows originally placed on the foundation. He was also for his services as architect empowered to bear arms by a grant from the King. In 1449-50 he was apointed to the see of Carlisle, and in 1452 was translated to Lichfield.
CLOSE, Samuel, engraver. He was born in Dublin, and was deaf and dumb from his birth. Of intemperate habits, he was employed at small pay by others, whose names were affixed to his works. He died 1817.
CLOSTERMAN, John, portrait painter. Was born at Osnaburgh in 1656. In 1679 he went to Paris, and from thence, in 1681, came to this country, and was employed by Riley to paint his draperies; and afterwards painted portraits in conjunction with him, Riley usually finishing the heads. After Riley's death he finished many of his uncompleted portraits, and obtaining much notice, set up as a rival to Kneller. In 1696 he went by invitation to Spain, and painted the portraits of the King and Queen. He also went twice to Italy, and brought back some good pictures which he purchased there. He painted a whole-length of Queen Anne, now in the Council Chamber, Guildhall; a family group of the Duke and Duchess of Marlborough, with their children; and a portrait of the Duke of Rutland. His colour- 88
