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Nothing very definite is known about him or his work, but he had a son FRANÇOIS CLOUET, who seems to have been born at about the time of Leonardo's arrival, and who succeeded to his father's office. Every portrait of this period is attributed to him, just as was the case with Holbein in England. Neither of the two examples at the National Gallery can be safely ascribed to him.
It is thus that I learned that Monsieur Clouet, gloriously wounded, had been cared for at a hospital in Cahors, and later on that he had recovered, rejoined his depot and finally returned to the front. One of my first outings during my last trip sent me in the direction of Monsieur Clouet's abode. I was decidedly anxious to know what had become of him.
Lane, as many as eleven hundred packages of private furniture to be transferred to Miramar, Maximilian's home; and Lieutenant Clarin, of the French navy, who visited the Susquehanna from the French commodore, Clouet, told me, without reserve, that, if we had delayed eight days more, we would have found Maximilian gone.
In the paintings of Francois Clouet, for example, or rather of the Clouets for there was a whole family of them painters remarkable for their resistance to Italian influences, there is a silveriness of colour and a clearness of expression which distinguish them very definitely from their Flemish neighbours, Hemling or the Van Eycks. And this nicety is not less characteristic of old French poetry.
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