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 on anatomy in the university, and afterwards professor. The index or summary of his lectures shows that they were not confined to the mere details of human anatomy, but included both comparative and surgical anatomy and the general principles of physiology (Index of Lectures, Dublin, 1766). Cleghorn was successful in practice, and in his later years spent much of his time on a little farm of his own near Dublin. His general learning was considerable, and he was one of the original members of the Royal Irish Academy. He had no children of his own, but devoted his means and care to the nine children of a deceased brother. One of these, William Cleghorn, took the degree of M.D. at Edinburgh in 1779, published a thesis on the theory of fire, and gave promise of distinction, but died a few years after his graduation. In Lettsom's 'Memoir' there is a portrait of Cleghorn from an original drawing. It represents him as a stoutly built man, with a road and deep forehead, and a most kindly expression of face. He died in December 1789.



CLEGHORN, JAMES (1778–1836), Scottish actuary, was a native of Dunse, where he was born in 1778. For some time he followed the vocation of a farmer, but in 1811 he removed to Edinburgh, where he edited the 'Farmers' Journal.' In 1817, along with Thomas Pringle, he became editor of the 'Edinburgh Monthly Magazine,' of which only six numbers were issued, and regarding which the editors published 'Notice ot the Transactions between the Publisher and Editors of the "Edinburgh Monthly Magazine."' Subsequently he became connected with the 'Scots Magazine.' He was the author of a pamphlet on the 'Depressed State of Agriculture, 1822, and to the seventh edition of the 'Encyclopædia Britannica' contributed the article on 'Agriculture,' which was also published separately. Cleghorn was the projector and founder of the Scottish Provident Assurance Company, of which he was manager. He was also actuary of the Edinburgh National Security Savings Banks. He enjoyed a high reputation for his skill as an actuary and accountant, which was shown in his 'Widows' Scheme for the Faculty of Advocates,' his 'Report on the first Investigation of the Widows' Fund' of that body, and his 'Report on the Widows' Fund of the Writers to ner Majesty's Signet.' He died unmarried on 27 May 1838.



CLEIN or CLEYN, FRANCIS (1590?–1658), draughtsman, ornamental painter, and etcher, was born at Rostock in Mecklenburg-Schwerin, and while a youth displayed such abilities that he was retained in the service of Christian IV, king of Denmark. During this time he painted, in 1611, a half-length portrait of Christian, now in the gallery of Copenhagen, and executed decorative works in the castle of Rosenborg and other places. Here, too, he met Sir Robert Anstruther, then ambassador extraordinary from England to the court of Denmark. He was sent to Italy to study, and remained there four years, studying at Rome and Venice; at Venice he was introduced to Sir Henry Wotton, then English ambassador to the republic. After returning to Denmark he proceeded to England with letters of introduction from Anstruther and Wotton to Charles, then prince of Wales. He found Charles away on his expedition with Buckingham to Spain, but was warmly received by James I, who saw in him the very man he wanted for the new tapestry manufactory which he had recently set up under Sir [q. v.] at Mortlake. So anxious was he to obtain Clein's services that he wrote in person to the king of Denmark, requesting that Clein, who had to return to Denmark to finish some work for the king, might be allowed to return to England, and offering to pay all expenses. The request was granted, and Clein returned to England to enter the service of Prince Charles, and was immediately employed at Mortlake. On the accession or Charles to the throne in 1625, he rewarded Clein by granting him denization and a pension for life of 100l per annum. He also built for him at Mortlake a residence near the tapestry manufactory. Here Clein settled with his family, and superintended the copying of cartoons, and designed the frames in which the subjects were enclosed in the tapestry. Charles sent down five out of the seven original cartoons of Raphael from the Acts of the Apostles, then recently acquired, to be copied and reproduced in tapestry under Clein's direction. Copies of these were made by Clein's sons, Francis and John, and they were worked into tapestry at Mortlake. These and the other productions of the Mortlake manufactory were held in high estimation, especially in France, and dispersed over the continent. A set of six pieces, representing the history of Hero and Leander, from Clein's designs, were at