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CLEMENCET

cally, between Holbein and Antonio Moro. his "Por- trait of a Man " in Munich (Pinakotliek) being long at- tributed to Holbein. He painted in France, England, and Germany. The celebrated portrait painter of Cologne, Bniyn, was liis pupil. Imagining himself unappreciated, he went to Spain and was presented to Philip II by Moro. the court painter.

Because Henrj' VIII, according to English author- ities, chose Titian's pictures in preference to his, van Cleef became infuriated, and liis frenzy later de\-el- oped into pennanent insanity. The French contend that it was Philip, in Spain, who gave Titian the preference. The most distressing feature of.Joost's insanity was that he retouched and ruined his fin- ished pictures whenever he could gain access to them, and his family finally had to place him under restraint. Beautiful altar-pieces by van Cleef are found in many Flemish churches, notably "The Last Judgment" (Ghent). Perhaps the most celebrated of his works is the "Bacchus" (Amsterdam), whose young face is crowned with prematurely grey hair. "A Virgin" (Middleburg) is noteworthy as having a charming landscape for the background, a combination rare in those days. Other works are " Portrait of the Painter and his Wife", at Windsor Castle; "Portrait of a Young Man", at Berlin; and "Portrait of a Man", at Munich.

Blanc. Hist, des peinlres de toiUes les ecoles (ccole Flamande) (Paris, 1877); WAnTERS, History of Flemish Painting (London. 1885); Deschamps. Le vie des Peintres Flamands, Allemands et Hollandois (Paris. 1753); BtiRGER, Tresors d'art en Angle- lerre (Brussels. 1860); Biographie Nationale de Belgique (Brus- sels, 1885); Reinach. Story of Art throughout the Ages.U. SlM- MONDS (New York, 1904).

Leigh Hunt.

Cleef, Martix van, Flemish painter, b. at Ant- werp in 1520; d. in 1570; was the son of the painter William (the younger William) and was throughout his life closely associated with his brother Henrj-, who exerted great influence over his artistic career. Des- champs asserts that Martin and Joost were brothers, but the majority of writers on Flemish art agree that Joost was the son of the elder William. Jlartin stud- ied under Franz Floris, "the incomparable Floris", and at first exhibited a strong predilection for land- scape work. Later on, however, persuaded by Henry, he devoted himself wholly to figure-painting. His- torical subjects were his favourites, but lie also achieved great success in genre painting. The latter has been stigmatized as vulgar and suggestive, but while coarse, and reflecting the peasant life of the Flemings, it dif- fered but httle in this respect from the canvases of the great Dutclimen. After a few early attempts in large compositions after the Italian manner of Floris, he painted small pictures only, and these with great spirit and thorough technic. His work is dehcate and refined in treatment, harmonious in colour, and excellent in draughtsmansliip.

Martin van Cleef painted in the landscapes the figiires of many eminent contemporaries, Gilles and Franz Floris among them, and he continually collabor- ated with his brotlier Henry in that way. Henrj' reciprocated and added to Martin's figure-pieces land- scape backgrounds charming in colourand design, and harmonizing well with the rest of the picture. On many of his works Martin painted, as a mark, a small ape — playing t hus on his name — and in consequence is frequently called the "Master of the Ape". He was admitted to the Antwerp Academy, and in 1.551 became a member of the St. Luke's Guild of Artists. He never travelled from his native Flanders, and died of gout at the age of fifty, leaving four sons — all of them painters.

For bibliography, see Cleef. Joost van.

Leigh Hunt.

Clemanges, or Clamanoes, Mathieu-Xicolas PoiLLEViLi,.\iN de, e French Humanist and theo-

logian, b. in Champagne about 1.360; d. at Paris between 1434 and 1440. He made his studies in the College of Navarre at Paris, and in 1380 received the degree of Licentiate, later on that of Master of Arts. He studied theology uniler Gerson and Pierre d'Ailly, and received the degree of Bachelor of The- ology in 1393. He had begun to lecture at the uni- versity in 1391 and was appointed its rector in 1393, a position he filled until 1395. The Church was then agitated by the Western Schism, and three methods wiTc proposed to re-establish peace." compromise, con- cession, and a general council. From 1380 to 1394 tlie I'niversity of Paris advocated a general council. In 1394 another tendency was manifest; i. e. both Boniface IX and Clement VII were held responsible for the continuance of the schism, and their resignations decreed to be the means of obtaining peace. To this end a letter was written to King Charles VI by three of the most learned masters of the university, Pierre d'Ailly, Gilles des Champs, and Cl^raanges. The two first prepared the content, to which C16- manges gave a Ciceronian elegance of form. The letter was unsuccessful, and the university was ordered to abstain from further discussion. Cl^manges, forced to resign the rectorshij) of the university, then be- came canon and dean of Saint-Clodoald (1395), and later on canon and treasurer of Langres. The anti- poi)e Benedict XIII, who admired his Latin style, took him for his .secretary in 1397, and he remained at Avignon until 140S, when he abandoned Benedict because of the latter's conflict with Charles VI. Clemangcs now retired to the Carthusian monastery of Valfonds and later to I<"ontaine-du-Bosc. In these two retreats he WTote his best treatises, "De Fructu eremi" (dechcated to Pierre d'Ailly), "De Fructu rerum adversarum", "De novis festivitatibus non instituendis", and "De studio theologico", in which latter work he exhibits his dislike for the Scholastic method in philosophy. In 1412 he returned to Langres, and was appointed Archdeacon of Bayeux. His voice was heard successively at the Council of Constance (1414), and at Chartres (1421), where he defended the "liberties" of the Galilean Church. In 1425 he was teaching rhetoric and theology in the College of X'avarre, where, most probably, he died. Clemanges is also credited with the authorship of the work "De corrupto Ecclesiae statu", first edited by Cordatus (possibly Hutten) in 1513, a violent attack on the morality and discipline of the contemporary Church; hence he is sometimes considered a Reformer of the tyjie of Wyclif and Hus. Schubert, however, in his book "1st Nicolaus von Clemanges der Ver- fa,sser des Buches De corrupto Ecclesice statu?" (Grossenhain, 1882; Leipzig, 1888) has shown that, although a contemporary, Clemanges was not the author of the book. His works were edited in two volumes by J. Lydius, a Protestant minister of Frankfort (Leyden, 1613). His letters are in d'Achcry (below) I, 473 sqq.

d'Achery, Spicilegium (Paris, 1666), VII, pnsf. 8-7; Dupix, Nouv. bibi. des auieitrs cedes. ^X^ll, 78; Mvt^tz, Nicolas de Clemanges^ sa vie et ses ecrits (Strasburg. 1846); Denifle et ('HATKL\IN. Chartularium Univ. Paris. (1894) III, 736; Febet, iu fiieuUe de theologie de Paris, IV, 21b-'2^o; Voigt, Die Wicdcrbelebung des dassischen Atlertums, II, 349-356; Cbeighton, .4 History of the Papacy (London, 1882), 1; Pastor. Huitory of the Popes, I;Salembier, Le grand schisme d'Occidmt (Paris, 1902).

J. B. Delaunay.

Clemencet, Charle.s, Benedictine historian, b. at Painblanc, in the department of Cote-d'Or, France, 1703; d. at Paris, 5 August, 1778. Clemencet en- tered the Congregation of Saint-Maur at an early age; for a short time he was lector of rhetoric at Pont-le- Voy, but, on account of his great abilities, was soon called to Paris. Here he took part in almost all of the important literary labours of his congregation, show- ing a marked preference for historical research. At