sheets of deposit, is certainly dependent also on the vertical pressure
exerted by masses of super-incumbent rock; it indicates a transition to
the fissile character of clay slates. (J. S. F.)

CLAY CROSS, an urban district in the Chesterfield parliamentary division
of Derbyshire, England, near the river Amber, on the Midland railway, 5
m. S. of Chesterfield. Pop. (1901) 8358. The Clay Cross Colliery and
Ironworks Company, whose mines were for a time leased by George
Stephenson, employ a great number of hands.

CLAYMORE (from the Gaelic _claidheamh mor_, "great sword"), the old
two-edged broadsword with cross hilt, of which the guards were usually
turned down, used by the Highlanders of Scotland. The name is also
wrongly applied to the single-edged basket-hilted sword adopted in the
16th century and still worn as the full-dress sword in the Highland
regiments of the British army.

CLAYS, PAUL JEAN (1819-1900), Belgian artist, was born at Bruges in
1819, and died at Brussels in 1900. He was one of the most esteemed
marine painters of his time, and early in his career he substituted a
sincere study of nature for the extravagant and artificial
conventionality of most of his predecessors. When he began to paint, the
sea was considered by continental artists as worth representing only
under its most tempestuous aspects. Artists cared only for the stirring
drama of storm and wreck, and they clung still to the old-world
tradition of the romantic school. Clays was the first to appreciate the
beauty of calm waters reflecting the slow procession of clouds, the
glories of sunset illuminating the sails of ships or gilding the tarred
sides of heavy fishing-boats. He painted the peaceful life of rivers,
the poetry of wide estuaries, the regulated stir of roadsteads and
ports. And while he thus broke away from old traditions he also threw
off the trammels imposed on him by his master, the marine painter
Theodore Gudin (1802-1880). Endeavouring only to give truthful
expression to the nature that delighted his eyes, he sought to render
the limpid salt atmosphere, the weight of waters, the transparence of
moist horizons, the gem-like sparkle of the sky. A Fleming in his
feeling for colour, he set his palette with clean strong hues, and their
powerful harmonies were in striking contrast with the rusty, smoky tones
then in favour. If he was not a "luminist" in the modern use of the
word, he deserves at any rate to b