CLARY 



CLAUDIANU8 



281 



Hall, near Ipswich, September 26, 1846. See Lives 

 l,v T:i\ l..r ( ls: and 1876) and Klines (1854). 



Clary (.*>'/* ///), a native of southern 

 Europe, which haw been cultivated from a very 

 early period for its aromatic and other properties. 

 li i* ;i l>ieimial(2 feet), with dummy stem, large, 

 In-art ->ha|>ed, rough, doubly crenate leaves, and 

 \\ hurls of pale-blue flowers in loose terminal spikes, 

 with large coloured bracts. Clary is aiitispasmodic 

 and stimulating, and is used for seasoning soups, 

 and in confectionery, while a fermented wine is 

 prepared from its flowers. A British species of 

 Salvia (S. Verbenaca) is sometimes called Wild 

 Clary; ti. pratetisis, Meadow Clary; and S. hor- 

 iiiiniiin, Annual Clary. See SAGE. 



Classics. The term clasnci was originally 

 applied to those citizens of Rome that belonged to 

 tin- first and most influential of the six classes into 

 whit-h Servius Tullius divided the population. As 

 early as the second century after Christ it is 

 applied figuratively by Gellius to writers of the 

 Inchest rank, and this mode of designation has 

 since been very generally adopted both in litera- 

 ture and art. Most nations have had at some 

 one time a more than usually rich and abundant 

 outburst of literature, and they usually style this 

 the Classical period of their literature, and its ' 

 most distinguished writers their Classics. Thus, j 

 in Latin literature the classical period may be j 

 regarded as extending from the time of Varro, 

 Cicero, and Lucretius, from about 80 B.C., to the 

 time of Juvenal and Suetonius, about 180 A.D. ; 

 and is divided into a Golden and a Silver Age. But 

 as the great productions of the writers and artists of 

 antiquity have continued to be looked upon by 

 moderns as models of perfection, the word classics 

 has come to designate, in a narrower sense, the 

 best writers of Greece and Rome, and ' classical ' to 

 mean much the same as 'ancient.' The question 

 of the relative value in modern education of the 

 study of the classics in this sense has been much 

 discussed (see EDUCATION). For Classicism as 

 opposed to Romanticism, see ROMANTICISM. 



Clastic Rocks (Gr. klastos, 'broken') are 

 rocks composed of fragmental materials. The term 

 includes all rocks of a secondary or derivative 

 origin i.e. rocks like conglomerate, sandstone, 

 shale, &c. , which have been formed out of the 

 remains of previously existing rocks. Besides the 

 large class of sand-and-gravel rocks, it also em- 

 braces many rocks of organic origin, such as certain 

 limestones, composed of the debris of shells, 

 corals, &c. ; coals, made up of the remains of 

 plants ; and some ironstones, consisting in whole 

 or in part of organic debris. Fragmental volcanic 

 rocks, such as Tuff (q.v.) and Agglomerate (q.v.), 

 come also into the same division. 



Claude Lorraine (properly named CLAUDE 

 GELLEE), a celebrated landscape-painter, was a 

 native of Lorraine, and born in 1600. According 

 to Baldinucci, a relative who travelled as a lace- 

 dealer took Claude when still a boy to Italy, but 

 deserted him in Rome. However, he soon found 

 employment in grinding colours, and doing other 

 menial services ror Agostino Tassi, a landscape- 

 painter, from whom he gained some knowledge of 

 art. He seems next to have studied under Godfrey 

 Waals at Naples, and after some time spent in 

 wandering through various portions of Europe, he 

 finally settled at Rome in 1627. Here he made his 

 way slowly with the public, and it was about ten 

 years afterwards that he received a commission 

 from Cardinal Bentivoglio, who introduced him to 

 Pope Urban VIII., for whom he executed four 

 landscapes, two of which, ' La Fete Villageoise ' and 

 ' Un Port de Mer au Soleil Couchant," both dated 

 1629, are now in the Louvre. His position was 



now assured, and his works were much sought after. 

 During his later years he suffered from gout and 

 other maladies, and died in November 1682. 



< 'laude's landscapes, which numlter about four 

 liundred, are found in the chief galleries of Italy, 

 F ranee, Spain, and ( lermany, and in particular 

 Kn^land, which, according to Dr Waagen, contains 

 fifty-four paintings by f mude. Four of his best 

 works the landscape* \nownas ' Morning/' Noon,' 

 ' Evening,' and ' TV iiight ' are in the imperial 



gillery at St Petersburg. The painting on which 

 laud'e himself set the highest value is the 'Villa 

 Madama.' He kept it as a study, and refused to 

 sell it, even when Pope Clement IX. offered for it 

 as much gold coin as would cover the canvas. As 

 Claude's paintings have always commanded very 

 high prices, many copies and imitations have been 

 imposed on buyers. This was the case even during 

 the artist's lifetime ; for he set high prices on his 

 works. It has been stated that it was in order to 

 stop the fraudulent trade carried on in his name 

 that he collected the sketches of his pictures in six 

 books titled Libri Veritatis, which are now in the 

 library of the Duke of Devonshire ; but these were 

 probably executed simply to preserve a record of 

 the works and of their destination. They were 

 engraved in mezzotint by Earlom, and it was in 

 rivalry with these prints that Turner executed his 

 celebrated Liber Studiorum. 



Claude was an earnest, indefatigable student of 

 nature, of which, however, he possessed a far less 

 close and scientific knowledge than is evinced by 

 the works of many modern landscape-painters. 

 He was restricted in his range of subjects and 

 effects, and he had little sympathy with nature in 

 her wilder and sterner moods. On the other hand, 

 his composition, if rather formal, is always grace- 

 ful and well considered ; his colour is singularly 

 mellow and harmonious ; and as a sky-painter his 

 work is full of delicacy and great tenderness of 

 gradation and aerial quality. Claude produced 

 about thirty etchings, the best of which are dis- 

 tinguished by great technical skill, refinement, and 

 freedom. Hamerton has pronounced ' Le Bouvier ' 

 to be in many ways ' the finest landscape etching 

 in the world." His plates have been recently 

 reproduced by Amand-Durand, and they are cata- 

 logued by Meaume in Le Peintre-Grareur Franqait 

 of Robert-Dumesnil. His figures, in which he was 

 sometimes aided by other painters, are in general 

 such inferior accessories that he was wont to say 

 he made no charge for them. See Ruskin's Modern 

 Painters ; Mrs ^Iark Pattison ( Lady Dilke), Claude 

 Lorrain, sa Vie et ses (Euvres (Paris, 1884) ; Dullea, 

 Claude le Lorrain (Lond. 1887); Grahame in The 

 Portfolio for March 1895. 



ClaildiailllS, CLAUDIUS, the latest of the 

 jjreat Latin poets, a native of Alexandria, flour- 

 ished in the end of the 4th and beginning of the 

 5th century. He wrote first in Greek, which 

 appears to have been his native tongue, though 

 IK- was originally of Roman extraction ; but in 

 Gibbon's words, he ' assumed in his mature age the 

 familiar use and absolute command of the Latin 

 language ; spared above the heads of his feeble 

 contemporaries, and placed himself, after an in- 

 terval of three hundred years, among the poets of 

 ancient Rome.' His poems brought nim into such 

 reputation that, at the request of the senate, the 

 Kmperors Arcadius and Honorius erected a statue 

 in honour of him in the forum of Trajan. The 

 productions of Claudianus that have come down to 

 us consist of two epic ]>oeni8, Raptus Proserpincc 

 and the fragmentary GigantomacJiia ; besides 

 panegyrics on Honorius and Stilicho, Eidyllia^ 

 Epigrammata, and occasional poems. Claudianus 

 displays a brilliant fancy, rich colouring, with 

 variety and distinctness in his pictures ; but he is 



