oine Arnauld (_Reponse au
livre de M. Arnauld_, 1670), and J.B. Bossuet (_Reponse au livre de M.
l'eveque de Meaux_, 1683). On the revocation of the edict of Nantes he
fled to Holland, and received a pension from William of Orange, who
commissioned him to write an account of the persecuted Huguenots
(_Plaintes des protestants cruellement opprimes dans le royaume de
France_, 1686). The book was translated into English, but by order of
James II, both the translation and the original were publicly burnt by
the common hangman on the 5th of May 1686, as containing "expressions
scandalous to His Majesty the king of France." Other works by him were
_Reponse au livre de P. Nouet sur l'eucharistie_ (1668); _Oeuvres
posthumes_ (Amsterdam, 1688), containing the _Traite de la composition
d'un sermon_, translated into English in 1778.

See biographies by J.P. Niceron and Abel Rotholf de la Deveze; E.
Haag, _La France protestante_, vol. iv. (1884, new edition).

CLAUDE OF LORRAINE, or CLAUDE GELEE (1600-1682), French
landscape-painter, was born of very poor parents at the village of
Chamagne in Lorraine. When it was discovered that he made no progress at
school, he was apprenticed, it is commonly said, to a pastry-cook, but
this is extremely dubious. At the age of twelve, being left an orphan,
he went to live at Freiburg on the Rhine with an elder brother, Jean
Gelee, a wood-carver of moderate merit, and under him he designed
arabesques and foliage. He afterwards rambled to Rome to seek a
livelihood; but from his clownishness and ignorance of the language, he
failed to obtain permanent employment. He next went to Naples, to study
landscape painting under Godfrey Waals, a painter of much repute. With
him he remained two years; then he returned to Rome, and was
domesticated until April 1625 with another landscape-painter, Augustin
Tassi, who hired him to grind his colours and to do all the household
drudgery.

His master, hoping to make Claude serviceable in some of his greatest
works, advanced him in the rules of perspective and the elements of
design. Under his tuition the mind of Claude began to expand, and he
devoted himself to artistic study with great eagerness. He exerted his
utmost industry to explore the true principles of painting by an
incessant examination of nature; and for this purpose he made his
studies in the open fields, where he very frequently remained from
sunrise till sunset, watching the effect of th