FOOTNOTES:

[1] Through her mother, _nee_ Princess Stephanie Radziwill (d. 1832).

Before Prince Wittgenstein's death (1887) a new law had forbidden

foreigners to hold land in Russia. Prince Hohenlohe appears, however,

to have sold one of his wife's estates and to have secured certain

privileges from the Russian court for the rest.

[2] Speech of December 30, 1870, in the _Reichsrath_.

_Denkwurdigkeiten_, ii. 36.

[3] "If I wished to leave the Church because of all the scandalous

occurrences in the Catholic Church, I should have had to secede while

studying Church history," _op. cit._ ii. 92.

[4] Dr Johann Friedrich (q.v.), afterwards one of the Old Catholic

leaders, was his secretary at the time of the Vatican council, and

supplied historical and theological material to the opposition

bishops.

[5] He protested against the passport system as likely to lead to a

war with France, for which he preferred not to be responsible (Letter

to Wilmowski, _Denkw._ ii. 433), but on the chancellor taking full

responsibility consented to retain office.

HOHENSTAUFEN, the name of a village and ruined castle near Lorsch in

Swabia, now in the kingdom of Wurttemberg, which gave its name to a

celebrated Swabian family, members of which were emperors or German

kings from 1138 to 1208, and again from 1214 to 1254. The earliest known

ancestor was Frederick, count of Buren (d. 1094), whose son Frederick

built a castle at Staufen, or Hohenstaufen, and called himself by this

name. He was a firm supporter of the emperor Henry IV., who rewarded his

fidelity by granting him the dukedom of Swabia in 1079, and giving him

his daughter Agnes in marriage. In 1081 he remained in Germany as

Henry's representative, but only secured possession of Swabia after a

struggle lasting twenty years. In 1105 Frederick was succeeded by his

son Frederick II., called the One-eyed, who, together with his brother

Conrad, afterwards the German king Conrad III., held south-west Germany

for their uncle the emperor Henry V. Frederick inherited the estates of

Henry V. in 1125, but failed to secure the throne, and took up an

attitude of hostility towards the new emperor, Lothair the Saxon, who

claimed some of the estates of the late emperor as crown property. A war

broke out and ended in the complete submission of Frederick at Bamberg.

He retained, however, his dukedom and estates. In 1138 Conrad of

Hohenstaufen was elected German king, and was succeeded in 1152, not by

his son but by his nephew Frederick Barbarossa, son of his brother

Frederick (d. 1147). Conrad's son Frederick inherited the duchy of

Franconia which his father had received in 1115, and this was retained

by the Hohenstaufen until the death of Duke Conrad II. in 1196. In 1152

Frederick received the duchy of Swabia from his cousin the German king

Frederick I., and on his death in 1167 it passed successively to

Frederick's three sons Frederick, Conrad and Philip. The second

Hohenstaufen emperor was Frederick Barbarossa's son, Henry VI., after

whose death a struggle for the throne took place between Henry's brother

Philip, duke of Swabia, and Otto of Brunswick, afterwards the emperor

Otto IV. Regained for the Hohenstaufen by Henry's son, Frederick II., in

1214, the German kingdom passed to his son, Conrad IV., and when

Conrad's son Conradin was beheaded in Italy in 1268, the male line of

the Hohenstaufen became extinct. Daughters of Philip of Swabia married

Ferdinand III., king of Castile and Leon, and Henry II., duke of

Brabant, and a daughter of Conrad, brother of the emperor Frederick I.,

married into the family of Guelph. The castle of Hohenstaufen was

destroyed in the 16th century during the Peasants' War, and only a few

fragments now remain.

See F. von Raumer, _Geschichte der Hohenstaufen und ihrer Zeit_

(Leipzig, 1878); B. F. W. Zimmermann, _Geschichte der Hohenstaufen_

(Stuttgart, 1st ed., 1838; 2nd ed., 1865); F. W. Schirrmacher, _Die

letzten Hohenstaufen_ (Gottingen, 1871).

HOHENSTEIN (Hohenstein-Ernstthal), a town of Germany, in the kingdom of

Saxony, on the slopes of the Erzgebirge, and on the railway

Reichenbach-Chemnitz, 12 m. N.E. of Zwickau. Pop. (1905) 13,903.

Hohenstein possesses two fine Evangelical churches, a town hall,

restored in 1876, and several monuments to famous men. The principal

industries are the spinning and weaving of cotton, the manufacture of

machines, stockings, gloves and woollen and silk fabrics, cotton

printing and dyeing. Many of the inhabitants are also employed in the

neighbouring copper and arsenic mines. Not far from Hohenstein there is

a mineral spring, connected with which there are various kinds of baths.

Hohenstein is the birthplace of the physicist G. H. von Schubert and of

C. G. Schroter (1699-1782), one of the inventors of the pianoforte.

Hohenstein consists of two towns, Hohenstein and Ernstthal, which were

united in 1898.

Another place of the same name is a town in East Prussia. Pop. (1900)

2467. This Hohenstein, which was founded by the Teutonic Order in 1359,

has a Roman Catholic and an Evangelical church, a synagogue and several

educational establishments.

HOHENZOLLERN, the name of a castle which stood on the hill of Zollern

about 1(1/2) m. south of Hechingen, and gave its name to the family to

which the present German emperor belongs. A vague tradition connects the

house with the Colonna family of Rome, or the Colalto family of

Lombardy; but one more definite unites the Hohenzollerns with the

Burkhardingers, who were counts in Raetia during the early part of the

10th century, and two of whom became dukes of Swabia. Tassilo, a member

of this family, is said to have built a castle at Zollern early in the

9th century; but the first historical mention of the name is in the

_Chronicon_ of a certain Berthold (d. 1088), who refers to Burkhard and

Wezil, or Werner, of Zollern, or Zolorin. These men appear to have been

counts of Zollern, and to have met their death in 1061. The family of

Wezil died out in 1194, and the existing branches of the Hohenzollerns

are descended from Burkhard and his son Frederick, whose eldest son,

Frederick II., was in great favour with the German kings, Lothair the

Saxon and Conrad III. Frederick II. died about 1145, and his son and

successor, Frederick III., was a constant supporter of the Hohenstaufen.

This count married Sophia, daughter and heiress of Conrad, burgrave of

Nuremberg, and about 1192 he succeeded his father-in-law as burgrave,

obtaining also some lands in Austria and Franconia. He died about 1200,

and his sons, Conrad and Frederick, ruled their lands in common until

1227, when an important division took place. Conrad became burgrave of

Nuremberg, and, receiving the lands which had come into the family

through his mother, founded the Franconian branch of the family, which

became the more important of the two; while Frederick, receiving the

county of Zollern and the older possessions of the family, was the

ancestor of the Swabian branch.

Early in the 12th century Burkhard, a younger son of Frederick I.,

secured the county of Hohenberg, and this district remained in the

possession of the Hohenzollerns until the death of Count Sigismund in

1486. Its rulers, however, with the exception of Count Albert II. (d.

1298), played an unimportant part in German history. Albert, who was a

Minnesinger, was loyal to the declining fortunes of the Hohenstaufen,

and afterwards supported his brother-in-law, Rudolph of Habsburg, in his

efforts to obtain the German throne. He shared in the campaigns of

Rudolph and fell in battle in 1298, during the struggle between Adolph

of Nassau and Albert of Habsburg (afterwards King Albert I.). When this

family became extinct in 1486 Hohenberg passed to the Habsburgs.

The Franconian branch of the Hohenzollerns was represented in 1227 by

Conrad, burgrave of Nuremberg, whom the emperor Frederick II. appointed

guardian of his son Henry, and administrator of Austria. After a short

apostasy, during which he supported Henry Raspe, landgrave of Thuringia,

Conrad returned to the side of the Hohenstaufen and aided Conrad IV. He

died in 1261, when his son and successor, the burgrave Frederick III.,

had already obtained Bayreuth through his marriage with Elizabeth,

daughter of Otto of Meran (d. 1234). Frederick took a leading part in

German affairs, and it is interesting to note that he had a considerable

share in securing the election of his uncle, Rudolph of Habsburg, as

German king in 1273. He died in 1297 and was succeeded by his son,

Frederick IV. This burgrave fought for King Albert I. in Thuringia, and

supported Henry VII. in his efforts to secure Bohemia for his son John;

but in 1314, forsaking his father's policy, he favoured Louis,

afterwards the emperor Louis IV., in his struggle with Frederick, duke

of Austria, and by his conduct at the battle of Muhldorf in 1322 and

elsewhere earned the designation of "saviour of the empire." Frederick,

however, did not neglect his hereditary lands. He did something for the

maintenance of peace and the security of traders, gave corporate

privileges to villages, and took the Jews under his protection. His

services to Louis were rewarded in various ways, and, using part of his

wealth to increase the area of his possessions, he bought the town and

district of Ansbach in 1331. Dying in 1332, Frederick was succeeded by

his son, John II., who, after one of his brothers had died and two

others had entered the church, ruled his lands in common with his

brother Albert. About 1338 John bought Culmbach and Plassenburg, and on

the strength of a privilege granted to him in 1347 he seized many

robber-fortresses and held the surrounding lands as imperial fiefs. In

general he continued his father's policy, and when he died in 1357 was

succeeded by his son, Frederick V., who, after the death of his uncle

Albert in 1361, became sole ruler of Nuremberg, Ansbach and Bayreuth.

Frederick lived in close friendship with the emperor Charles IV., who

formally invested him with Ansbach and Bayreuth and made him a prince of

the empire in 1363. In spite of the troubled times in which he lived,

Frederick was a successful ruler, and introduced a regular system of

public finance into his lands. In 1397 he divided his territories

between his sons John and Frederick, and died in the following year. His

elder son, John III., who had married Margaret, a daughter of the

emperor Charles IV., was frequently in the company of his

brothers-in-law, the German kings Wenceslaus and Sigismund. He died

without sons in 1420.

Since 1397 the office of burgrave of Nuremberg had been held by John's

brother, Frederick, who in 1415 received Brandenburg from King

Sigismund, and became margrave of Brandenburg as Frederick I. (q.v.). On

his brother's death in 1420 he reunited the lands of his branch of the

family, but in 1427 he sold his rights as burgrave to the town of

Nuremberg. The subsequent history of this branch of the Hohenzollerns is

identified with that of Brandenburg from 1415 to 1701, and with that of

Prussia since the latter date, as in this year the elector Frederick

III. became king of Prussia. In 1871 William, the seventh king, took the

title of German emperor. While the electorate of Brandenburg passed

according to the rule of primogeniture, the Franconian possessions of

the Hohenzollerns, Ansbach and Bayreuth, were given as appanages to

younger sons, an arrangement which was confirmed by the _dispositio

Achillea_ of 1473. These principalities were ruled by the sons and

descendants of the elector Albert Achilles from 1486 to 1603; and, after

reverting to the elector of Brandenburg, by the descendants of the

elector John George from 1603 to 1791. In 1791 Prince Charles Alexander

(d. 1806), who had inherited both districts, sold his lands to Prussia.

The influence of the Swabian branch of the Hohenzollerns was weakened by

several partitions of its lands; but early in the 16th century it rose

to some eminence through Count Eitel Frederick II. (d. 1512), a friend

and adviser of the emperor Maximilian I. Eitel received from this

emperor the district of Haigerloch, and in 1534 his grandson Charles (d.

1576) was granted the counties of Sigmaringen and Vohringen by the

emperor Charles V. In 1576 the sons of Charles divided their lands, and

founded three branches of the family, one of which is still flourishing.

Eitel Frederick IV. took Hohenzollern with the title of

Hohenzollern-Hechingen; Charles II. Sigmaringen and Vohringen and the

title of Hohenzollern-Sigmaringen; and Christopher took Haigerloch.

Christopher's family died out in 1634, but the remaining lines are of

some importance. Count John George of Hohenzollern-Hechingen was made a

prince in 1623, and John of Hohenzollern-Sigmaringen soon received the

same honour. In 1695 these two branches of the family entered conjointly

into an agreement with Brandenburg, which provided that, in case of the

extinction of either of the Swabian branches, the remaining branch

should inherit its lands; and if both branches became extinct the

principalities should revert to Brandenburg. During the 17th and 18th

centuries and during the period of the Napoleonic wars the history of

these lands was very similar to that of the other small estates of

Germany. In consequence of the political troubles of 1848 Princes

Frederick William of Hohenzollern-Hechingen and Charles Anton of

Hohenzollern-Sigmaringen resigned their principalities, and accordingly

these fell to the king of Prussia, who took possession on the 12th of

March 1850. By a royal decree of the 20th of May following the title of

"highness," with the prerogatives of younger sons of the royal house,

was conferred on the two princes. The proposal to raise Prince Leopold

of Hohenzollern-Sigmaringen (1835-1905) to the Spanish throne in 1870

was the immediate cause of the war between France and Germany. In 1908

the head of this branch of the Hohenzollerns, the only one existing

besides the imperial house, was Leopold's son William (b. 1864), who,

owing to the extinction of the family of Hohenzollern-Hechingen in 1869,

was called simply prince of Hohenzollern. In 1866 Prince Charles of

Hohenzollern-Sigmaringen was chosen prince of Rumania, becoming king in

1881.

The modern Prussian province of Hohenzollern is a long, narrow strip of

territory bounded on the S.W. by Baden and in other directions by

Wurttemberg. It was divided into two principalities,

Hohenzollern-Sigmaringen and Hohenzollern-Hechingen, until 1850, when

these were united. They now form the government of Sigmaringen (q.v.).

The castle of Hohenzollern was destroyed in 1423, but it has been

restored several times. Some remains of the old building may still be

seen adjoining the present castle, which was built by King Frederick

William IV.

See _Monumenta Zollerana_, edited by R. von Stillfried and T. Marker

(Berlin, 1852-1890); _Quellen und Untersuchungen zur Geschichte des

Hauses Hohenzollern_, edited by E. Berner (Berlin, 1901 fol.); R. von

Stillfried, _Altertumer und Kunstdenkmale des erlauchten Hauses von

Hohenzollern_ (Berlin, 1852-1867) and _Stammtafeln des Gesamthauses

Hohenzollern_ (Berlin, 1869); L. Schmid, _Die alteste Geschichte des

erlauchten Gesamthauses der koniglichen und furstlichen Hohenzollern_

(Tubingen, 1884-1888); E. Schwartz, _Stammtafel des preussischen

Konigshauses_ (Breslau 1898); _Hohenzollernsche Forschungen, Jahrbuch

fur die Geschichte der Hohenzollern_, edited by C. Meyer (Berlin,

1891-1902); _Hohenzollern Jahrbuch, Forschungen und Abbildungen zur

Geschichte der Hohenzollern in Brandenburg-Freussen_, edited by Seidel

(Leipzig, 1897-1903), and T. Carlyle, _History of Frederick the Great_

(London, 1872-1873). (A. W. H.*)

HOKKAIDO, the Japanese name for the northern division of the empire

(_Hoku_ = north, _kai_ = sea, and _do_ = road), including Yezo, the

Kuriles and their adjacent islets.

HOKUSAI (1760-1849), the greatest of all the Japanese painters of the

Popular School (_Ukiyo-ye_), was born at Yedo (Tokyo) in the 9th month

of the 10th year of the period Horeki, i.e. October-November 1760. He

came of an artisan family, his father having been a mirror-maker,

Nakajima Issai. After some practice as a wood-engraver he, at the age of

eighteen, entered the studio of Katsugawa Shunsho, a painter and

designer of colour-prints of considerable importance. His disregard for

the artistic principles of his master caused his expulsion in 1785; and

thereafter--although from time to time Hokusai studied various styles,

including especially that of Shiba Gokan, from whom he gained some

fragmentary knowledge of European methods--he kept his personal

independence. For a time he lived in extreme poverty, and, although he

must have gained sums for his work which might have secured him comfort,

he remained poor, and to the end of his life proudly described himself

as a peasant. He illustrated large numbers of books, of which the

world-famous _Mangwa_, a pictorial encyclopaedia of Japanese life,

appeared in fifteen volumes from 1812 to 1875. Of his colour-prints the

"Thirty-six Views of Mount Fuji" (the whole set consisting of forty-six

prints) were made between 1823 and 1829; "Views of Famous Bridges" (11),

"Waterfalls" (8), and "Views of the Lu-chu Islands" (8), are the best

known of those issued in series; but Hokusai also designed some superb

broadsheets published separately, and his _surimono_ (small prints made

for special occasions and ceremonies) are unequalled for delicacy and

beauty. The "Hundred Views of Mount Fuji" (1834-1835), 3 vols., in

monochrome, are of extraordinary originality and variety. As a painter

and draughtsman Hokusai is not held by Japanese critics to be of the

first rank, but this verdict has never been accepted by Europeans, who

place him among the greatest artists of the world. He possessed great

powers of observation and characterization, a singular technical skill,

an unfailing gift of good humour, and untiring industry. He was an eager

student to the end of his long life, and on his death-bed said, "If

Heaven had lent me but five years more, I should have become a great

painter." He died on the 10th of May 1849.

See E. de Goncourt, _Hokousai_ (1896); M. Revon, _Etude sur Hokusai_

(1896); E. F. Fenollosa, _Catalogue of the Exhibition of Paintings by

Hokusai at Tokyo_ (1901); E. F. Strange, Hokusai (1906). (E. F. S.)

HOLBACH, PAUL HEINRICH DIETRICH, BARON D' (1723-1789), French

philosopher and man of letters, of German origin, was born at

Heidelsheim in the palatinate in 1723. Of his family little is known;

according to J. J. Rousseau his father was a rich parvenu, who brought

his son at an early age to Paris, where the latter spent most of his

life. Much of Holbach's fame is due to his intimate connexion with the

brilliant coterie of bold thinkers and polished wits whose creed, the

new philosophy, is concentrated in the famous _Encyclopedie_. Possessed

of easy means and being of hospitable disposition, he kept open house

for Helvetius, D'Alembert, Diderot, Condillac, Turgot, Buffon, Grimm,

Hume, Garrick, Wilkes, Sterne, and for a time J. J. Rousseau, guests

who, while enjoying the intellectual pleasure of their host's

conversation, were not insensible to his excellent cuisine and costly

wines. For the _Encyclopedie_ he compiled and translated a large number

of articles on chemistry and mineralogy, chiefly from German sources. He

attracted more attention, however, in the department of philosophy. In

1767 _Christianisme devoile_ appeared, in which he attacked Christianity

and religion as the source of all human evils. This was followed up by

other works, and in 1770 by a still more open attack in his most famous

book, _Le Systeme de la nature_, in which it is probable he was

assisted by Diderot. Denying the existence of a deity, and refusing to

admit as evidence all a priori arguments, Holbach saw in the universe

nothing save matter in spontaneous movement. What men call their souls

become extinct when the body dies. Happiness is the end of mankind. "It

would be useless and almost unjust to insist upon a man's being virtuous

if he cannot be so without being unhappy. So long as vice renders him

happy, he should love vice." The restraints of religion were to be

replaced by an education developing an enlightened self-interest. The

study of science was to bring human desires into line with their natural

surroundings. Not less direct and trenchant are his attacks on political

government, which, interpreted by the light of after events, sound like

the first distant mutterings of revolution. Holbach exposed the logical

consequences of the theories of the Encyclopaedists. Voltaire hastily

seized his pen to refute the philosophy of the Systeme in the article

"Dieu" in his _Dictionnaire philosophique_, while Frederick the Great

also drew up an answer to it. Though vigorous in thought and in some

passages clear and eloquent, the style of the Systeme is diffuse and

declamatory, and asserts rather than proves its statements. Its

principles are summed up in a more popular form in _Bon Sens, ou idees

naturelles opposees aux idees surnaturelles_ (Amsterdam, 1772). In the

Systeme social (1773), the _Politique naturelle_ (1773-1774) and the

_Morale universelle_ (1776) Holbach attempts to rear a system of

morality in place of the one he had so fiercely attacked, but these

later writings had not a tithe of the popularity and influence of his

earlier work. He published his books either anonymously or under

borrowed names, and was forced to have them printed out of France. The

uprightness and sincerity of his character won the friendship of many to

whom his philosophy was repugnant. J. J. Rousseau is supposed to have

drawn his portrait in the virtuous atheist Wolmar of the _Nouvelle

Heloise_. He died on the 21st of January 1789.

Holbach is also the author of the following and other works: _Esprit

du clerge_ (1767); _De l'imposture sacerdotale_ (1767); _Pretres

demasques_ (1768); _Examen critique de la vie et des ouvrages de St

Paul_ (1770); _Histoire critique de Jesus-Christ_ (1770), and

_Ethocratie_ (1776). For further particulars as to his life and

doctrines see Grimm's _Correspondance litteraire_, &c. (1813);

Rousseau's _Confessions_; Morellet's _Memoires_ (1821); Madame de

Genlis, _Les Diners du Baron Holbach_; Madame d'Epinay's _Memoires_;

Avezac-Lavigne, _Diderot et la societe du Baron d'Holbach_ (1875), and

Morley's _Diderot_ (1878).

HOLBEACH, a market town in the Holland or Spalding parliamentary

division of Lincolnshire, England, on the Midland and Great Northern

joint railway, 23(1/2) m. N.E. of Peterborough. Pop. of urban district

(1901), 4755. All Saints' Church, with a lofty spire, is a fine specimen

of late Decorated work. The grammar school, founded in 1669, occupies a

building erected in 1877. Other public buildings are the assembly rooms

and a market house. Roman and Saxon remains have been found, and the

market dates from the 13th century.

HOLBEIN, HANS, the elder (c. 1460-1524), belonged to a celebrated family

of painters in practice at Augsburg and Basel from the close of the 15th

to the middle of the 16th century. Though closely connected with Venice

by her commercial relations, and geographically nearer to Italy than to

Flanders, Augsburg at the time of Maximilian cultivated art after the

fashion of the Flemings, and felt the influence of the schools of Bruges

and Brussels, which had branches at Cologne and in many cities about the

headwaters of the Rhine. It was not till after the opening of the 16th

century, and between that and the era of the Reformation, that Italian

example mitigated to some extent the asperity of South German painting.

Flemish and German art was first tempered with Italian elements at

Augsburg by Hans Holbein the elder. Hans first appears at Augsburg as

partner to his brother Sigismund, who survived him and died in 1540 at

Berne. Sigismund is described as a painter, but his works have not come

down to us. Hans had the lead of the partnership at Augsburg, and signed

all the pictures which it produced. In common with Herlen, Schongauer,

and other masters of South Germany, he first cultivated a style akin to

that of Memlinc and other followers of the schools of Brussels and

Bruges, but he probably modified the systems of those schools by

studying the works of the masters of Cologne. As these early impressions

waned, they were replaced by others less favourable to the expansion of

the master's fame; and as his custom increased between 1499 and 1506, we

find him relying less upon the teaching of the schools than upon a mere

observation and reproduction of the quaintnesses of local passion plays.

Most of his early works indeed are taken from the Passion, and in these

he obviously marshalled his figures with the shallow stage effect of the

plays, copying their artificial system of grouping, careless to some

extent of proportion in the human shape, heedless of any but the coarser

forms of expression, and technically satisfied with the simplest methods

of execution. If in any branch of his art he can be said to have had a

conscience at this period, we should say that he showed it in his

portrait drawings. It is seldom that we find a painted likeness worthy

of the name. The drawings of which numbers are still preserved in the

galleries of Basel, Berlin and Copenhagen show extraordinary quickness

and delicacy of hand, and a wonderful facility for seizing character;

and this happily is one of the features which Holbein bequeathed to his

more famous son, Hans the younger. It is between 1512 and 1522 that

Holbein tempered the German quality of his style with some North Italian

elements. A purer taste and more pleasing realism mark his work, which

in drapery, dress and tone is as much more agreeable to the eye as in

respect of modelling and finish it is smoother and more carefully

rounded. Costume, architecture, ornament and colour are applied with

some knowledge of the higher canons of art. Here, too, advantage accrued

to Hans the younger, whose independent career about this time began.

The date of the elder Holbein's birth is unknown. But his name appears

in the books of the tax-gatherers of Augsburg in 1494, superseding that

of Michael Holbein, who is supposed to have been his father. Previous to

that date, and as early as 1493, he was a painter of name, and he

executed in that year, it is said, for the abbey at Weingarten, the

wings of an altarpiece representing Joachim's Offering, the Nativity of

the Virgin, Mary's Presentation in the Temple, and the Presentation of

Christ, which now hang in separate panels in the cathedral of Augsburg.

In these pieces and others of the same period, for instance in two

Madonnas in the Moritz chapel and castle of Nuremberg, we mark the clear

impress of the schools of Van der Weyden and Memlinc; whilst in later

works, such as the Basilica of St Paul (1504) in the gallery of

Augsburg, the wane of Flemish influence is apparent. But this

altarpiece, with its quaint illustrations of St Paul's life and

martyrdom, is not alone of interest because its execution is

characteristic of old Holbein. It is equally so because it contains

portraits of the master himself, accompanied by his two sons, the

painters Ambrose (c. 1494-c. 1519) and Hans the younger. Later pictures,

such as the Passion series in the Furstenberg gallery at Donaueschingen,

or the Martyrdom of St Sebastian in the Munich Pinakothek, contain

similar portraits, the original drawings of which are found in old

Holbein's sketch-book at Berlin, or in stray leaves like those possessed

by the duke of Aumale in Paris. Not one of these fails to give us an

insight into the character, or a reflex of the features, of the members

of this celebrated family. Old Holbein seems to ape Leonardo, allowing

his hair and beard to grow wildly, except on the upper lip. Hans the

younger is a plain-looking boy. But his father points to him with his

finger, and hints that though but a child he is clearly a prodigy.

After 1516 Hans Holbein the elder appears as a defaulter in the

registers of the tax-gatherers at Augsburg; but he willingly accepts

commissions abroad. At Issenheim in Alsace, where Grunewald was employed

in 1516, old Holbein also finds patrons, and contracts to complete an

altarpiece. But misfortune or a bailiff pursues him, and he leaves

Issenheim, abandoning his work and tools. According to Sandrart, he

wanders to Basel and takes the freedom of its gild. His brother

Sigismund and others are found suing him for debt before the courts of

Augsburg. Where he lived when he executed the altarpiece, of which two

wings with the date of 1522 are in the gallery of Carlsruhe, is

uncertain; where he died two years later is unknown. He slinks from ken

at the close of a long life, and disappears at last heeded by none but

his own son, who claims his brushes and paints from the monks of

Issenheim without much chance of obtaining them. His name is struck off

the books of the Augsburg gild in 1524.

The elder Holbein was a prolific artist, who left many pictures behind

him. Earlier than the Basilica of St Paul, already mentioned, is the

Basilica of St Mary Maggiore, and a Passion in eleven pieces, in the

Augsburg gallery, both executed in 1499. Another Passion, with the

root of Jesse and a tree of the Dominicans, is that preserved in the

Staedel, Saalhof, and church of St Leonard at Frankfort. It was

executed in 1501. The Passion of Donaueschingen was finished after

1502, in which year was completed the Passion of Kaisheim, a

conglomerate of twenty-seven panels, now divided amongst the galleries

of Munich, Nuremberg, Augsburg and Schleissheim. An altarpiece of the

same class, commissioned for the monastery of St Moritz at Augsburg in

1504-1508, has been dispersed and lost. 1512 is the date of a

Conception in the Augsburg gallery, long assigned, in consequence of a

forged inscription, to Hans Holbein the younger. A diptych, with a

Virgin and Child, and a portrait of an old man, dated 1513, came in

separate parts into the collections of Mr Posonyi and Count

Lanckoronski at Vienna. The sketch-books of Berlin, Copenhagen and

Augsburg give a lively picture of the forms and dress of Augsburg

residents at the beginning of the 16th century. They comprise

portraits of the emperor Maximilian, the future Charles V., Kunz von

der Rosen, the fool of Maximilian, the Fuggers, friars, merchants, and

at rare intervals ladies.

See also the biography by Stodtner (Berlin, 1896).

HOLBEIN, HANS, the younger (1497-1543), German painter, favourite son of

Hans Holbein the elder, was probably born at Augsburg about the year

1497. Though Sandrart and Van Mander declare that they do not know who

gave him the first lessons, he doubtless received an artist's education

from his father. About 1515 he left Augsburg with Ambrose, his elder

brother, to seek employment as an illustrator of books at Basel. His

first patron is said to have been Erasmus, for whom, shortly after his

arrival, he illustrated with pen-and-ink sketches an edition of the

_Encomium Moriae_, now in the museum of Basel. But his chief occupation

was that of drawing titlepage-blocks and initials for new editions of

the Bible and classics issued from the presses of Froben and other

publishers. His leisure hours, it is supposed, were devoted to the

production of rough painter's work, a schoolmaster's sign in the Basel

collection, a table with pictures of St Nobody in the library of the

university at Zurich. In contrast with these coarse productions, the

portraits of Jacob Meyer and his wife in the Basel museum, one of which

purports to have been finished in 1516, are miracles of workmanship. It

has always seemed difficult indeed to ascribe such excellent creations

to Holbein's nineteenth year; and it is hardly credible that he should

have been asked to do things of this kind so early, especially when it

is remembered that neither he nor his brother Ambrose were then allowed

to matriculate in the guild of Basel. Not till 1517 did Ambrose, whose

life otherwise remains obscure, join that corporation; Hans, not

overburdened with practice, wandered into Switzerland, where (1517) he

was employed to paint in the house of Jacob Hertenstein at Lucerne. In

1519 Holbein reappeared at Basel, where he matriculated and, there is

every reason to think, married. Whether, previous to this time, he took

advantage of his vicinity to the Italian border to cross the Alps is

uncertain. Van Mander says that he never was in Italy; yet the large

wall-paintings which he executed after 1519 at Basel, and the series of

his sketches and pictures which is still extant, might lead to the

belief that Van Mander was misinformed. The spirit of Holbein's

compositions for the Basel town hall, the scenery and architecture of

his numerous drawings, and the cast of form in some of his imaginative

portraits, make it more likely that he should have felt the direct

influence of North Italian painting than that he should have taken

Italian elements from imported works or prints. The Swiss at this period

wandered in thousands to swell the ranks of the French or imperial

armies fighting on Italian soil, and the road they took may have been

followed by Hans on a more peaceful mission. He shows himself at all

events familiar with Italian examples at various periods of his career;

and if we accept as early works the "Flagellation," and the "Last

Supper" at Basel, coarse as they are, they show some acquaintance with

Lombard methods of painting, whilst in other pieces, such as the series

of the Passion in oil in the same collection, the modes of Hans Holbein

the elder are agreeably commingled with a more modern, it may be said

Italian, polish. Again, looking at the "Virgin" and "Man of Sorrows" in

the Basel museum, we shall be struck by a searching metallic style akin

to that of the Ferrarese; and the "Lais" or the "Venus and Amor" of the

same collection reminds us of the Leonardesques of the school of Milan.

When Holbein settled down to an extensive practice at Basel in 1519, he

decorated the walls of the house "Zum Tanz" with simulated architectural

features of a florid character after the fashion of the Veronese; and

his wall paintings in the town-hall, if we can truly judge of them by

copies, reveal an artist not unfamiliar with North Italian composition,

distribution, action, gesture and expression. In his drawings too,

particularly in a set representing the Passion at Basel, the

arrangement, and also the perspective, form and decorative ornament, are

in the spirit of the school of Mantegna. Contemporary with these,

however, and almost inexplicably in contrast with them as regards

handling, are portrait-drawings such as the likenesses of Jacob Meyer,

and his wife, which are finished with German delicacy, and with a power

and subtlety of hand seldom rivalled in any school. Curiously enough,

the same contrast may be observed between painted compositions and

painted portraits. The "Bonifacius Amerbach" of 1519 at Basel is

acknowledged to be one of the most complete examples of smooth and

transparent handling that Holbein ever executed. His versatility at this

period is shown by a dead Christ (1521), a corpse in profile on a

dissecting table, and a set of figures in couples; the "Madonna and St

Pantalus," and "Kaiser Henry with the Empress Kunigunde" (1522),

originally composed for the organ loft of the Basel cathedral, now in

the Basel museum. Equally remarkable, but more attractive, though

injured, is the "Virgin and Child between St Ursus and St Nicholas" (not

St Martin) giving alms to a beggar, in the gallery of Solothurn. This

remarkable picture is dated 1522, and seems to have been ordered for an

altar in the minster of St Ursus of Solothurn by Nicholas Conrad, a

captain and statesman of the 16th century, whose family allowed the

precious heirloom to fall into decay in a chapel of the neighbouring

village of Grenchen. Numerous drawings in the spirit of this picture,

and probably of the same period in his career, might have led Holbein's

contemporaries to believe that he would make his mark in the annals of

Basel as a model for painters of altarpieces as well as a model for

pictorial composition and portrait. The promise which he gave at this

time was immense. He was gaining a freedom in draughtsmanship that gave

him facility to deal with any subject. Though a realist, he was sensible

of the dignity and severity of religious painting. His colour had almost

all the richness and sweetness of the Venetians. But he had fallen on

evil times, as the next few years undoubtedly showed. Amongst the

portraits which he executed in these years are those of Froben, the

publisher, known only by copies at Basel and Hampton Court, and Erasmus,

who sat in 1523, as he likewise did in 1530, in various positions,

showing his face threequarters as at Longford, Basel, Turin, Parma, the

Hague and Vienna, and in profile as in the Louvre or at Hampton Court.

Besides these, Holbein made designs for glass windows, and for woodcuts,

including subjects of every sort, from the Virgin and Child with saints

of the old time to the Dance of Death, from gospel incidents extracted

from Luther's Bible to satirical pieces illustrating the sale of

indulgences and other abuses denounced by Reformers. Holbein, in this

way, was carried irresistibly with the stream of the Reformation, in

which, it must now be admitted, the old traditions of religious painting

were wrecked, leaving nothing behind but unpictorial elements which

Cranach and his school vainly used for pictorial purposes.

Once only, after 1526, and after he had produced the "Lais" and "Venus

and Amor," did Holbein with impartial spirit give his services and

pencil to the Roman Catholic cause. The burgomaster Meyer, whose

patronage he had already enjoyed, now asked him to represent himself and

his wives and children in prayer before the Virgin; and Holbein produced

the celebrated altarpiece now in the palace of Prince William of Hesse

at Darmstadt, the shape and composition of which are known to all the

world by its copy in the Dresden museum. The drawings for this

masterpiece are amongst the most precious relics in the museum of Basel.

The time now came when art began to suffer from unavoidable depression

in all countries north of the Alps. Holbein, at Basel, was reduced to

accept the smallest commissions--even for scutcheons. Then he saw that

his chances were dwindling to nothing, and taking a bold resolution,

armed with letters of introduction from Erasmus to More, he crossed the

Channel to England, where in the one-sided branch of portrait painting

he found an endless circle of clients. Eighty-seven drawings by Holbein

in Windsor Castle, containing an equal number of portraits, of persons

chiefly of high quality, testify to his industry in the years which

divide 1528 from 1543. They are all originals of pictures that are still

extant, or sketches for pictures that were lost or never carried out.

Sir Thomas More, with whom he seems to have had a very friendly

connexion, sat to him for likenesses of various kinds. The drawing of

his head is at Windsor. A pen-and-ink sketch, in which we see More

surrounded by all the members of his family, is now in the gallery of

Basel, and numerous copies of a picture from it prove how popular the

lost original must once have been. At the same period were executed the

portraits of Warham (Lambeth and Louvre), Wyatt (Louvre), Sir Henry

Guildford and his wife (Windsor), all finished in 1527, the astronomer

Nicholas Kratzer (Louvre), Thomas Godsalve (Dresden), and Sir Bryan Tuke

(Munich) in 1528. In this year, 1528, Holbein returned to Basel, taking

to Erasmus the sketch of More's family. With money which he brought from

London he purchased a house at Basel wherein to lodge his wife and

children, whose portraits he now painted with all the care of a husband

and father (1528). He then witnessed the flight of Erasmus and the fury

of the iconoclasts, who destroyed in one day almost all the religious

pictures at Basel. The municipality, unwilling that he should suffer

again from the depression caused by evil times, asked him to finish the

frescoes of the town-hall, and the sketches from these lost pictures are

still before us to show that he had not lost the spirit of his earlier

days, and was still capable as a composer. His "Rehoboam receiving the

Israelite Envoys," and "Saul at the Head of his Array meeting Samuel,"

testify to Holbein's power and his will, also proved at a later period

by the "Triumphs of Riches and Poverty," executed for the Steelyard in

London (but now lost), to prefer the fame of a painter of history to

that of a painter of portraits. But the reforming times still remained

unfavourable to art. With the exception of a portrait of Melanchthon

(Hanover) which he now completed, Holbein found little to do at Basel.

The year 1530, therefore, saw him again on the move, and he landed in

England for the second time with the prospect of bettering his fortunes.

Here indeed political changes had robbed him of his earlier patrons. The

circle of More and Warham was gone. But that of the merchants of the

Steelyard took its place, for whom Holbein executed the long and

important series of portraits that lie scattered throughout the

galleries and collections of England and the Continent, and bear date

after 1532. Then came again the chance of practice in more fashionable

circles. In 1533 the "Ambassadors" (National Gallery), and the "Triumphs

of Wealth and Poverty" were executed, then the portraits of Leland and

Wyatt (Longford), and (1534) the portrait of Thomas Cromwell. Through

Cromwell Holbein probably became attached to the court, in the pay of

which he appears permanently after 1537. From that time onwards he was

connected with all that was highest in the society of London. Henry

VIII. invited him to make a family picture of himself, his father and

family, which obtained a post of honour at Whitehall. The beautiful

cartoon of a part of this fine piece at Hardwicke Hall enables us to

gauge its beauty before the fire which destroyed it in the 17th century.

Then Holbein painted Jane Seymour in state (Vienna), employing some

English hand perhaps to make the replicas at the Hague, Sion House and

Woburn; he finished the Southwell of the Uffizi (copy at the Louvre),

the jeweller Morett at Dresden, and last, not least, Christine of

Denmark, who gave sittings at Brussels in 1538. During the journey which

this work involved Holbein took the opportunity of revisiting Basel,

where he made his appearance in silk and satin, and _pro forma_ only

accepted the office of town painter. He had been living long and

continuously away from home, not indeed observing due fidelity to his

wife, who still resided at Basel, but fairly performing the duties of

keeping her in comfort. His return to London in autumn enabled him to do

homage to the king in the way familiar to artists. He presented to Henry

at Christmas a portrait of Prince Edward. Again abroad in the summer of

1539, he painted with great fidelity the princess Anne of Cleves, at

Duren near Cologne, whose form we still see depicted in the great

picture of the Louvre. That he could render the features of his sitter

without flattery is plain from this one example. Indeed, habitual

flattery was contrary to his habits. His portraits up to this time all

display that uncommon facility for seizing character which his father

enjoyed before him, and which he had inherited in an expanded form. No

amount of labour, no laboriousness of finish--and of both he was ever

prodigal--betrayed him into loss of resemblance or expression. No

painter was ever quicker at noting peculiarities of physiognomy, and it

may be observed that in none of his faces, as indeed in none of the

faces one sees in nature, are the two sides alike. Yet he was not a

child of the 16th century, as the Venetians were, in substituting touch

for line. We must not look in his works for modulations of surface or

subtle contrasts of colour in juxtaposition. His method was to the very

last delicate, finished and smooth, as became a painter of the old

school.

Amongst the more important creations of Holbein's later time we should

note his "Duke of Norfolk" at Windsor, the hands of which are so

perfectly preserved as to compensate for the shrivel that now disfigures

the head. Two other portraits of 1541 (Berlin and Vienna), the Falconer

at the Hague, and John Chambers at Vienna (1542), are noble specimens of

portrait art; most interesting and of the same year are the likenesses

of Holbein himself, of which several examples are extant--one

particularly good at Fahna, the seat of the Stackelberg family near

Riga, and another at the Uffizi in Florence. Here Holbein appears to us

as a man of regular features, with hair just turning grey, but healthy

in colour and shape, and evidently well to do in the world. Yet a few

months only separated him then from his death-bed. He was busy painting

a picture of Henry the VIII. confirming the Privileges of the Barber

Surgeons (Lincoln's Inn Fields), when he sickened of the plague and died

after making a will about November 1543. His loss must have been

seriously felt in England. Had he lived his last years in Germany, he

would not have changed the current which decided the fate of painting in

that country; he would but have shared the fate of Durer and others who

merely prolonged the agony of art amidst the troubles of the

Reformation. (J. A. C.)

The early authorities are Karel Van Mander's _Het Schilder Boek_

(1604), and J. von Sandrart, _Accademia Todesca_ (1675). See also R.

N. Wornum, _Life and Work of Holbein_ (1867); H. Knackfuss, _Holbein_

(1899); G. S. Davies, _Holbein_ (1903); A. F. G. A. Woltmann, _Holbein

und seine Zeit_ (1876).

HOLBERG, LUDVIG HOLBERG, BARON (1684-1754), the great Scandinavian

writer, was born at Bergen, in Norway, on the 3rd of December 1684. Both

Holberg's parents died in his childhood, his father first, leaving a

considerable property; and in his eleventh year he lost his mother also.

Before the latter event, however, the family had been seriously

impoverished by a great fire, which destroyed several valuable

buildings, but notwithstanding this, the mother left to each of her six

children some little fortune. In 1695 the boy Holberg was taken into the

house of his uncle, Peder Lem, who sent him to the Latin school, and

prepared him for the profession of a soldier; but soon after this he was

adopted by his cousin Otto Munthe, and went to him up in the mountains.

His great desire for instruction, however, at last induced his family

to send him back to Bergen, to his uncle, and there he remained, eagerly

studying, until the destruction of that city by fire in 1702, when he

was sent to the university of Copenhagen. But he soon exhausted his

resources, and, having nothing to live upon, was glad to hurry back to

Norway, where he accepted the position of tutor in the house of a rural

dean at Voss. He soon returned to Copenhagen, where in 1704 he took his

degree, and worked hard at French, English and Italian. But he had to

gain his living, and accordingly he accepted the post of tutor once

more, this time in the house of Dr Smith, vice-bishop of Bergen. The

good doctor had travelled much, and the reading of his itineraries and

note-books awakened such a longing for travel in the young Holberg that

at last, at the close of 1704, having scraped together 60 dollars, he

went on board a ship bound for Holland. He proceeded as far as

Aix-la-Chapelle, where he fell sick of a fever, and suffered so much

from weakness and poverty, that he made his way on foot to Amsterdam,

and came back to Norway. Ashamed to be seen so soon in Bergen, he

stopped at Christianssand, where he lived through the winter, supporting

himself by giving lessons in French. In the spring of 1706 he travelled,

in company with a student named Brix, through London to Oxford, where he

studied for two years, gaining his livelihood by giving lessons on the

violin and the flute. He mentions, with gratitude, the valuable

libraries of Oxford, and it is pleasant to record that it was while he

was there that it first occurred to him, as he says, "how splendid and

glorious a thing it would be to take a place among the authors." Through

London and Elsinore he reached Copenhagen a third time, and began to

lecture at the university; his lectures were attended, but he got no

money. He was asked in 1709 to conduct a rich young gentleman to

Dresden, and on his return journey he lectured at Leipzig, Halle and

Hamburg. Once more in Copenhagen, he undertook to teach the children of

Admiral Gedde. Weary with this work, he took a post at Borch College in

1710, where he wrote, and printed in 1711, his first work, _An

Introduction to the History of the Nations of Europe_, and was permitted

to present to King Frederick IV. two manuscript essays on Christian IV.

and Frederick III. The king soon after presented him with the title of

Professor, and with the Rosenkrantz grant of 100 dollars for four years,

the holder of which was expected to travel. Holberg accordingly started

in 1714, and visited, chiefly on foot, a great portion of Europe. From

Amsterdam he walked through Rotterdam to Antwerp, took a boat to

Brussels, and on foot again reached Paris. Walking and skating, he

proceeded in the depth of winter to Marseilles, and on by sea to Genoa.

On the last-mentioned voyage he caught a fever, and nearly died in that

city. On his recovery he pushed on to Civita Vecchia and Rome. When the

spring had come, being still very poor and in feeble health, he started

homewards on foot by Florence, across the Apennines, through Bologna,

Parma, Piacenza, Turin, over the Alps, through Savoy and Dauphine to

Lyons, and finally to Paris, where he arrived in excellent health. After

spending a month in Paris, he walked on to Amsterdam, took sail to

Hamburg, and so went back to Denmark in 1716. He spent the next two

years in extreme poverty, and published his _Introduction to Natural and

Popular Law_. But at last, in 1718, his talents were recognized by his

appointment as professor of metaphysics at the university of Copenhagen;

and in 1720 he was promoted to the lucrative chair of public eloquence,

which gave him a seat in the consistory. His pecuniary troubles were now

at an end. Hitherto he had written only on law, history and philology,

although in a Latin controversy with the jurist Andreas Hojer of

Flensborg his satirical genius had flashed out. But now, and until 1728,

he created an entirely new class of humorous literature under the

pseudonym of Hans Mikkelsen. The serio-comic epic of _Peder Paars_, the

earliest of the great classics of the Danish language, appeared In 1719.

This poem was a brilliant satire on contemporary manners, and enjoyed an

extraordinary success. But the author had offended in it several

powerful persons who threatened his life, and if Count Danneskjold had

not personally interested the king in him, Holberg's career might have

had an untimely close. During the next two years he published five

shorter satires, all of which were well received by the public. The

great event of 1721 was the erection of the first Danish theatre in

Gronnegade, Copenhagen; Holberg took the direction of this house, in

which was played, in September 1722, a Danish translation of L'Avare.

Until this time no plays had been acted in Denmark except in French and

German, but Holberg now determined to use his talent in the construction

of Danish comedy. The first of his original pieces performed was _Den

politiske Kandestober_ (The Pewterer turned Politician); he wrote other

comedies with miraculous rapidity, and before 1722 was closed, there had

been performed in succession, and with immense success, _Den

Vaegelsindede_ (The Waverer), _Jean de France_, _Jeppe paa Bjerget_, and

_Gert the Westphalian_. Of these five plays, four at least are

masterpieces; and they were almost immediately followed by others.

Holberg took no rest, and before the end of 1723 the comedies of

_Barselstuen_ (The Lying-in Room), _The Eleventh of July_, _Jakob von

Thyboe_, _Den Bundeslose_ (The Fidget), _Erasmus Montanus_, _Don

Ranudo_, _Ulysses of Ithaca_, _Without Head or Tail_, _Witchcraft_ and

_Melampe_ had all been written, and some of them acted. In 1724 the most

famous comedy that Holberg produced was _Henrik and Pernille_. But in

spite of this unprecedented blaze of dramatic genius the theatre fell

into pecuniary difficulties, and had to be closed, Holberg composing for

the last night's performance, in February 1727, a _Funeral of Danish

Comedy_. All this excessive labour for the stage had undermined the

great poet's health, and in 1725 he had determined to take the baths at

Aix-la-Chapelle; but instead of going thither he wandered through

Belgium to Paris, and spent the winter there. In the spring he returned

to Copenhagen with recovered health and spirits, and worked quietly at

his protean literary labours until the great fire of 1728. In the period

of national poverty and depression that followed this event, a

puritanical spirit came into vogue which was little in sympathy with

Holberg's dramatic or satiric genius. He therefore closed his career as

a dramatic poet by publishing in 1731 his acted comedies, with the

addition of five which he had no opportunity of putting on the stage.

With characteristic versatility, he adopted the serious tone of the new

age, and busied himself for the next twenty years with historical,

philosophical and statistical writings. During this period he published

his poetical satire called _Metamorphosis_ (1726), his _Epistolae ad

virum perillustrem_ (1727), his _Description of Denmark and Norway_

(1729), _History of Denmark_, _Universal Church History_, _Biographies

of Famous Men_, _Moral Reflections_, _Description of Bergen_ (1737), _A

History of the Jews_, and other learned and laborious compilations. The

only poem he published at this time was the famous _Nicolai Klimii iter

subterraneum_ (1741), afterwards translated into Danish by Baggesen.

When Christian VI. died in 1747, pietism lost its sway; the theatre was

reopened and Holberg was appointed director, but he soon resigned this

arduous post. The six comedies he wrote in his old age did not add to

his reputation. His last published work was his _Epistles_, in 5 vols.

the last of them posthumous (1754). In 1747 he was created by the new

king Baron of Holberg. In August 1753 he took to his bed, and he died at

Copenhagen on the 28th of January 1754, in the seventieth year of his

age. He was buried at Soro, in Zealand. He had never married, and he

bequeathed all his property, which was considerable, to Soro College.

Holberg was not only the founder of Danish literature and the greatest

of Danish authors, but he was, with the exception of Voltaire, the first

writer in Europe during his own generation. Neither Pope nor Swift, who

perhaps excelled him in particular branches of literary production,

approached him in range of genius, or in encyclopaedic versatility.

Holberg found Denmark provided with no books, and he wrote a library for

her. When he arrived in the country, the Danish language was never heard

in a gentleman's house. Polite Danes were wont to say that a man wrote

Latin to his friends, talked French to the ladies, called his dogs in

German, and only used Danish to swear at his servants. The single genius

of Holberg revolutionized this system. He wrote poems of all kinds in a

language hitherto employed only for ballads and hymns; he instituted a

theatre, and composed a rich collection of comedies for it; he filled

the shelves of the citizens with works in their own tongue on history,

law, politics, science, philology and philosophy, all written in a true

and manly style, and representing the extreme attainment of European

culture at the moment. Perhaps no author who ever lived has had so vast

an influence over his countrymen, an influence that is still at work

after 200 years.

The editions of Holberg's works are legion. Complete editions of the

_Comedies_ are too numerous to be quoted; the best is that brought out

in 3 vols. by F. I. Lichtenberg, in 1870. Of _Peder Paars_ there exist

at least twenty-three editions, besides translations in Dutch, German

and Swedish. The _Iter subterraneum_ has been three several times

translated into Danish, ten times into German, thrice into Swedish,

thrice into Dutch, thrice into English, twice into French, twice into

Russian and once into Hungarian. The life of Holberg was written by

Welhaven in 1858 and by Georg Brandes in 1884. Among works on his

genius by foreigners may be mentioned an exhaustive study by Robert

Prutz (1857), and _Holberg considere comme imitateur de Moliere_, by

A. Legrelle (Paris, 1864). (E. G.)

HOLBORN, a central metropolitan borough of London, England, bounded N.W.

by St Pancras, N.E. by Finsbury, S.E. by the City of London, S. and W.

by the City of Westminster and St Marylebone. Pop. (1901), 59,405. Area

405.1 acres. Its main thoroughfare is that running E. and W. under the

names of Holborn Viaduct, High Holborn and New Oxford Street.

The name of Holborn was formerly derived from Old Bourne, a tributary of

the Fleet, the valley of which is clearly seen where Holborn Viaduct

crosses Farringdon Street. Of the existence of this tributary, however,

there is no evidence, and the origin of the name is found in

_Hole-bourne_, the stream in the hollow, in allusion to the Fleet

itself. The fall and rise of the road across the valley before the

construction of the viaduct (1869) was abrupt and inconvenient. In

earlier times a bridge here crossed the Fleet, leading from Newgate,

while a quarter of a mile west of the viaduct is the site of Holborn

Bars, at the entrance to the City, where tolls were levied. The better

residential district of Holborn, which extends northward to Euston Road

in the borough of St Pancras, is mainly within the parish of St George,

Bloomsbury. The name of Bloomsbury is commonly derived from William

Blemund, a lord of the manor in the 15th century. A dyke called

Blemund's Ditch, of unknown origin, bounded it on the south, where the

land was marshy. During the 18th century Bloomsbury was a fashionable

and wealthy residential quarter. The reputation of the district

immediately to the south, embraced in the parish of St Giles in the

Fields, was far different. From the 17th century until modern times this

was notorious as a home of crime and poverty. Here occurred some of the

earliest cases of the plague which spread over London in 1664-1665. The

opening of the thoroughfares of New Oxford Street (1840) and Shaftesbury

Avenue (1855) by no means wholly destroyed the character of the

district. The circus of Seven Dials, east of Shaftesbury Avenue, affords

a typical name in connexion with the lowest aspect of life in London. A

similar notoriety attached to Saffron Hill on the eastern confines of

the borough. By a singular contrast, the neighbouring thoroughfare of

Hatton Garden, leading north from Holborn Circus, is a centre of the

diamond trade.

Of the ecclesiastical buildings of Holborn that of first interest is the

chapel of St Etheldreda in Ely Place, opening from Holborn Circus. Ely

Place takes its name from a palace of the bishops of Ely, who held land

here as early as the 13th century. Here died John of Gaunt in 1399. The

property was acquired by Sir Christopher Hatton, Lord Chancellor under

Queen Elizabeth, after whom Hatton Garden is named; though the bishopric

kept some hold upon it until the 18th century. The chapel, the only

remnant of the palace, is a beautiful Decorated structure with a vaulted

crypt, itself above ground-level. Both are used for worship by Roman

Catholics, by whom the chapel was acquired in 1874 and opened five years

later after careful restoration. The present parish church of St Giles

in the Fields, between Shaftesbury Avenue and New Oxford Street, dates

from 1734, but here was situated a leper's hospital founded by Matilda,

wife of Henry I., in 1101. Its chapel became the parish church on the

suppression of the monasteries. The church of St Andrew, the parish of

which extends into the City, stands near Holborn Viaduct. It is by Wren,

but there are traces of the previous Gothic edifice in the tower.

Sacheverell was among its rectors (1713-1724), and Thomas Chatterton

(1770) was interred in the adjacent burial ground, no longer extant, of

Shoe Lane Workhouse; the register recording his Christian name as

William. Close to this church Is the City Temple (Congregational).

Two of the four Inns of Court, Lincoln's Inn and Gray's Inn, lie within

the borough. Of the first the Tudor gateway opens upon Chancery Lane.

The chapel, hall and residential buildings surrounding the squares

within, are picturesque, but of later date. To the west lie the fine

square, with public gardens, still called, from its original character,

Lincoln's Inn Fields. Gray's Inn, between High Holborn and Theobald's

Road, and west of Gray's Inn Road, is of similar arrangement. The fabric

of the small chapel is apparently of the 14th century, and may have been

attached to the manor house of Portpool, held at that period by the

Lords Grey of Wilton. Of the former Inns of Chancery attached to these

Inns of Court the most noteworthy buildings remaining are those of

Staple Inn, of which the timbered and gabled Elizabethan front upon High

Holborn is a unique survival of its character in a London thoroughfare;

and of Barnard's Inn, occupied by the Mercer's School. Both these were

attached to Gray's Inn. Of Furnival's and Thavies Inns, attached to

Lincoln's Inn, only the names remain. The site of the first is covered

by the fine red brick buildings of the Prudential Assurance Company,

Holborn Viaduct. Among other institutions in Holborn, the British

Museum, north of New Oxford Street, is pre-eminent. The varied

collections of Sir John Soane, accumulated at his house in Lincoln's Inn

Fields, are open to view as the Soane Museum. There may also be

mentioned the Royal College of Surgeons, Lincoln's Inn Fields, with

museum; the Royal Colleges of Organists, and of Veterinary Surgeons, the

College of Preceptors, the Jews' College, and the Metropolitan School of

Shorthand. Among hospitals are the Italian, the Homoeopathic, the

National for the paralysed and epileptic, the Alexandra for children

with hip disease, and the Hospital for sick children. The Foundling

Hospital, Guilford Street, was founded by Thomas Coram in 1739.

HOLCROFT, THOMAS (1745-1809), English dramatist and miscellaneous

writer, was born on the 10th of December 1745 (old style) in Orange

Court, Leicester Fields, London. His father, besides having a

shoemaker's shop, kept riding horses for hire; but having fallen into

difficulties was reduced ultimately to the necessity of hawking pedlary.

The son accompanied his parents in their tramps, and succeeded in

procuring the situation of stable boy at Newmarket, where he spent his

evenings chiefly in miscellaneous reading and the study of music.

Gradually he obtained a knowledge of French, German and Italian. At the

end of his term of engagement as stable boy he returned to assist his

father, who had again resumed his trade of shoemaker in London; but

after marrying in 1765, he became a teacher in a small school in

Liverpool. He failed in an attempt to set up a private school, and

became prompter in a Dublin theatre. He acted in various strolling

companies until 1778, when he produced _The Crisis; or, Love and

Famine_, at Drury Lane. _Duplicity_ followed in 1781. Two years later he

went to Paris as correspondent of the _Morning Herald_. Here he attended

the performances of Beaumarchais's _Mariage de Figaro_ until he had

memorized the whole. The translation of it, with the title _The Follies

of the Day_, was produced at Drury Lane in 1784. _The Road to Ruin_, his

most successful melodrama, was produced in 1792. A revival in 1873 ran

for 118 nights. Holcroft died on the 23rd of March 1809. He was a member

of the Society for Constitutional Information, and on that account was,

in 1794, indicted of high treason, but was discharged without a trial.

Among his novels may be mentioned _Alwyn_ (1780), an account, largely

autobiographical, of a strolling comedian, and _Hugh Trevor_

(1794-1797). He also was the author of _Travels from Hamburg through

Westphalia, Holland and the Netherlands to Paris_, of some volumes of

verse and of translations from the French and German.

His _Memoirs written by Himself and continued down to the Time of his

Death, from his Diary, Notes and other Papers_, by William Hazlitt,

appeared in 1816, and was reprinted, in a slightly abridged form, in

1852.

HOLDEN, HUBERT ASHTON (1822-1896), English classical scholar, came of an

old Staffordshire family. He was educated at King Edward's school,

Birmingham, and Trinity College, Cambridge (senior classic, 1845;

fellow, 1847). He was vice-principal of Cheltenham College (1853-1858),

and headmaster of Queen Elizabeth's school, Ipswich (1858-1883). He died

in London on the 1st of December 1896. In addition to several school

editions of portions of Cicero, Thucydides, Xenophon and Plutarch, he

published an expurgated text of Aristophanes with a useful onomasticon

(re-issued separately, 1902) and larger editions of Cicero's _De

officiis_ (revised ed., 1898) and of the _Octavius_ of Minucius Felix

(1853). His chief works, however, were his _Foliorum silvula_ (1852), a

collection of English extracts for translation into Greek and Latin

verse; _Folia silvulae_ (translations of the same); and _Foliorum

centuriae_, a companion volume of extracts for Latin prose translation.

In English schools these books have been widely used for the teaching of

Latin and Greek composition.

HOLDEN, SIR ISAAC, BART. (1807-1897), English inventor and manufacturer,

was the son of Isaac Holden, a native of Cumberland, and was born at

Hurlet, a village between Paisley and Glasgow, on the 7th of May 1807.

His early life was passed in very straitened circumstances, but his

father spared no pains to give him as much elementary education as

possible. At the age of ten he began to work as weaver's draw-boy, and

afterwards was employed in a cotton mill. Meanwhile his education was

continued at the night schools, and from time to time, as funds allowed,

he was taken from work and sent to the grammar-school, to which he at

last went regularly for a year or two until he was fifteen, when his

father removed to Paisley and apprenticed him to an uncle, a

shawl-weaver there. This proving too much for his strength, in 1823 he

became assistant teacher in a school at Paisley, and in 1828 he was

appointed mathematical teacher in the Queen's Square Academy, Leeds. At

the end of six months he was transferred to Lingard's grammar school,

near Huddersfield, and shortly afterwards became classical master at

Castle Street Academy, Reading. It was here that in 1829 he invented a

lucifer match by adopting sulphur as the medium between the explosive

material and the wood, but he refused to patent the invention. In 1830

his health again failed, and he returned to Scotland, where a Glasgow

friend set up a school for him. After six months, however, he was

recommended for the post of bookkeeper to Messrs. Townend Brothers,

worsted manufacturers, of Cullingworth, where his interest in machinery

soon led to his transfer from the counting-house to the mill. There his

experiments led him to the invention of his square motion wool-comber

and of a process for making genappe yarns, a patent for which was taken

out by him in conjunction with S. C. Lister (Lord Masham) in 1847. The

firm of Lister & Holden, which established a factory near Paris in 1848,

carried on a successful business, and in 1859, when Lister retired, was

succeeded by Isaac Holden and Sons, which became the largest

wool-combing business in the world, employing upwards of 4000

workpeople. In 1865 Holden's medical advisers insisted on complete

change of occupation, and he entered parliament as Liberal member for

Knaresborough. From 1868 to 1882 he was without a seat, but in the

latter year he was elected for the northern division of the West Riding,

and in 1885 for Keighley. He was created a baronet in 1893, and died

suddenly at Oakworth House, near Keighley, on the 13th of August 1897.

His son and heir, Sir Angus Holden, was in 1908 created a peer with the

title of Baron Holden of Alston.

HOLDERLIN, JOHANN CHRISTIAN FRIEDRICH (1770-1843), German poet, was born

on the 20th of March 1770, at Lauffen on the Neckar. His mother

removing, after a second marriage, to Nurtingen, he began his education

at the classical school there. He was destined by his relations for the

church, and with this view was later admitted to the seminaries at

Denkendorf and Maulbronn. At the age of eighteen he entered as a student

of theology the university of Tubingen, where he remained till 1793. He

was already the writer of occasional verses, and had begun to sketch his

novel _Hyperion_, when he was introduced in this year to Schiller, and

obtained through him the post of tutor to the young son of Charlotte von

Kalb. A year later he left this situation to attend Fichte's lectures,

and to be near Schiller in Jena. The latter recognized in the young poet

something of his own genius, and encouraged him by publishing some of

his early writings in his periodicals _Die neue Thalia_ and _Die Horen_.

In 1796 Holderlin obtained the post of tutor in the family of the banker

J. F. Gontard in Frankfort-on-Main. For Gontard's beautiful and gifted

wife, Susette, the "Diotima" of his _Hyperion_, he conceived a violent

passion; and she became at once his inspiration and his ruin. At the end

of two years, during which time the first volume of _Hyperion_ was

published (1797), a crisis appears to have occurred in their relations,

for the young poet suddenly left Frankfort. In spite of ill-health, he

now completed _Hyperion_, the second volume of which appeared in 1799,

and began a tragedy, _Der Tod des Empedokles_, a fragment of which is

published among his works. His friends became alarmed at the alternate

depression and nervous irritability from which he suffered, and he was

induced to go to Switzerland, as tutor in a family at Hauptwill. There

his health improved; and several of his poems, among which are _Der

blinde Sanger_, _An die Hoffnung_ and _Dichtermut_, were written at this

time. In 1801 he returned home to arrange for the publication of a

volume of his poems; but, on the failure of this enterprise, he was

obliged to accept a tutorship at Bordeaux. "Diotima" died a year later,

in June 1802, and the news is supposed to have reached Holderlin shortly

afterwards, for in the following month he suddenly left Bordeaux, and

travelled homewards on foot through France, arriving at Nurtingen

destitute and insane. Kind treatment gradually alleviated his condition,

and in lucid intervals he occupied himself by writing verses and

translating Greek plays. Two of these translations--the _Antigone_ and

_Oedipus rex_ of Sophocles--appeared in 1804, and several of his short

poems were published by Franz K. L. von Seckendorff in his

_Musenalmanach_, 1807 and 1808. In 1804 Holderlin obtained the sinecure

post of librarian to the landgrave Frederick V. of Hesse-Homburg, and

went to live in Homburg under the supervision of friends; but two years

later becoming irremediably but harmlessly insane, he was taken in the

summer of 1807 to Tubingen, where he remained till his death on the 7th

of June 1843.

Holderlin's writings are the production of a beautiful and sensitive

mind; but they are intensely, almost morbidly, subjective, and they lack

real human strength. Perhaps his strongest characteristic was his

passion for Greece, the result of which was that he almost entirely

discarded rhyme in favour of the ancient verse measures. His poems are

all short pieces; of his tragedy only a fragment was written. _Hyperion,

oder der Eremit in Griechenland_ (1797-1799), is a romance in letters,

in which the stormy fervour of the "Sturm und Drang" is combined with a

romantic enthusiasm for Greek antiquity. The interest centres not in the

story, for the novel has little or none--Hyperion is a young Greek who

takes part in the rising of his people against the Turks in 1770--but in

its lyric subjectivity and the dithyrambic beauty of its language.

Holderlin's lyrics, _Lyrische Gedichte_, were edited by L. Uhland and

G. Schwab in 1826. A complete edition of his works, _Samtliche Werke_,

with a biography by C. T. Schwab, appeared in 1846; also _Dichtungen_

by K. Kostlin (Tubingen, 1884), and (the best edition) _Gesammelte

Dichtungen_ by B. Litzmann (2 vols., Stuttgart, 1897). For biography

and criticism, see C. C. T. Litzmann, _F. Holderlins Leben_ (Berlin,

1890), A. Wilbrandt, _Holderlin_ (2nd ed., Berlin, 1891), and C.

Muller, _Friedrich Holderlin, sein Leben und sein Dichten_ (Bremen,

1894).

HOLDERNESSE, EARL OF, an English title borne by Sir John Ramsay and

later by the family of Darcy. John Ramsay (c. 1580-1626), a member of

the Scottish family of Ramsay of Dalhousie, was knighted for his share

in rescuing James VI. from the hands of John Ruthven, earl of Gowrie, in

August 1600. In 1606 the king created him Viscount Haddington and Lord

Ramsay of Barns, and in 1621 made him an English peer as earl of

Holdernesse. Ramsay died without surviving issue in February 1626, when

his titles became extinct. In 1644 Charles I. created his nephew, Prince

Rupert, earl of Holdernesse, but when the prince died unmarried in

November 1682 the earldom again became extinct. Conyers Darcy

(1599-1689), who was made earl of Holdernesse in 1682 only a few days

after the death of Rupert, was the son and heir of Conyers Darcy, Lord

Darcy and Conyers (c. 1571-1654), and succeeded his father in these

baronies in March 1654. He was succeeded as 2nd earl by his only son

Conyers (c. 1620-1692), who was member of parliament for Yorkshire

during the reign of Charles II. In his turn he was succeeded by his

grandson Robert (1681-1722). Robert's only son, Robert Darcy, 4th earl

of Holdernesse (1718-1778), was a diplomatist and a politician. From

1744 to 1746 he was ambassador at Venice and from 1749 to 1751 he

represented his country at the Hague. In 1751 he became one of the

secretaries of state, and he remained in office until March 1761, when

he was dismissed by George III. From 1771 to 1776 he acted as governor

to two of the king's sons, a "solemn phantom" as Horace Walpole calls

him. He left no sons, and all his titles became extinct except the

barony of Conyers, which had been created by writ in 1509 in favour of

his ancestor Sir William Conyers (d. 1525). This descended to his only

daughter Amelia (1754-1784), the wife of Francis Osborne, afterwards 5th

duke of Leeds, and when the 7th duke of Leeds died in 1859 it passed to

his nephew, Sackville George Lane-Fox (1827-1888), falling into abeyance

on his death. Hornby castle in Yorkshire, now the principal seat of the

dukes of Leeds, came to them through marriage of the 5th duke with the

heiress of the families of Conyers and of Darcy.

HOLDHEIM, SAMUEL (1806-1860), Jewish rabbi, a leader of reform in the

German Synagogue, was born in Posen in 1806 and died in Berlin in 1860.

In 1836 he was appointed rabbi at Frankfort-on-the-Oder, in 1840 he was

transferred to the rabbinate of Mecklenburg-Schwerin. He then became

prominent as an advocate on the one hand of religious freedom (much

trammelled at the time by Prussian state laws) and on the other of

reform within the Jewish community. Various rabbinical conferences were

held, at Brunswick (1844), Frankfort-on-the-Main (1845) and Breslau

(1846). At all of these Holdheim was a strong supporter of the policy of

modifying ritual (especially with regard to Sabbath observance, marriage

laws and liturgical customs). In 1846 he was chosen Rabbi of the new

Berlin congregation and there exercised considerable influence on the

course of Jewish reform.

See I. H. Ritter in the _Jewish Quarterly Review_, i. 202. The same

authority has written the life of Holdheim in vol. iii. of his

_Geschichte der judischen Reformation_ (Berlin, 1865). Graetz in his

_History_ passes an unfavourable judgment on Holdheim, and there were

admittedly grounds for opposition to Holdheim's attitude. A moderate

criticism is contained in Dr D. Philipson's _History of the Reform

Movement_ in Judaism (London, 1906).

HOLGUIN, a town of the high plateau country in the interior of Oriente

province, Cuba, about 65 m. N.W. of Santiago de Cuba. Pop. (1907) 7592.

The town is near the Maranon and Jigue rivers, on a plain from which

hills rise on all sides except the E., on which side it is open to the

winds of the plateau. Holguin was long the principal acclimatization

station for Spanish troops. The oldest public buildings are two churches

built in 1800 and 1809 respectively. Holguin has trade in cabinet woods,

tobacco, Indian corn and cattle products, which it exports through its

port Gibara, about 25 m. N.N.E., with which it is connected by railway.

Holguin was settled about 1720 and became a _ciudad_ (city) in 1751. In

the Ten Years' War of 1868-78 and in the revolution of 1895-98 Holguin

was an insurgent centre.

HOLIDAY, originally the "holy day," a festival set apart for religious

observances as a memorial of some sacred event or sacred person; hence a

day on which the ordinary work or business ceases. For the religious

sense see FEASTS AND FESTIVALS, and SUNDAY. Apart from the use of the

term for a single day of rest or enjoyment, it is commonly used in the

plural for a recognized and regular period (as at schools, &c.) of

absence from work. It is unnecessary here to deal with what may be

regarded as private holidays, which are matters of agreement between

employer and employed or between the authorities of this or that

institution and those who attend it. In recent years there has been a

notable tendency in most occupations to shorten the hours of labour, and

make holidays more regular. It will suffice to deal here with public

holidays, the observance of which is prescribed by the state. In one

respect these have been diminished, in so far as saints' days are no

longer regarded as entailing non-attendance at the government offices in

England, as was the case at the beginning of the 19th century. But while

the influence of religion in determining such holidays has waned, the

importance of making some compulsory provision for social recreation has

made itself felt. In England four days, known as Bank Holidays (q.v.),

are set apart by statute to be observed as general holidays, while the

sovereign may by proclamation appoint any day to be similarly observed.

Endeavours have been made from time to time to get additional days

recognized as general holidays, such as Empire Day (May 24th), Arbor

Day, &c. In the British colonies there is no uniform practice. In Canada

eight days are generally observed as public holidays: New Year's Day,

Good Friday, Easter Monday, Christmas Day, the birthday of the

sovereign, Victoria Day, Dominion Day and Labour Day. Some of the

provinces have followed the American example by adding an Arbor Day.

Alberta and Saskatchewan observe Ash Wednesday. In Quebec, where the

majority of the population is Roman Catholic, the holy days are also

holidays, namely, the Festival of the Epiphany, Ash Wednesday, Good

Friday, Easter Monday, the Ascension, All Saint's Day, Conception Day,

Christmas Day. In 1897 Labour Day was added. In New South Wales, the 1st

of January, Good Friday, Easter Eve, Easter Monday, the birthday of the

sovereign, the 1st of August, the birthday of the prince of Wales,

Christmas Day and the 26th of December, are observed as holidays. In

Victoria there are thirteen public holidays during the year, and in

Queensland fourteen. In New Zealand the public holidays are confined to

four, Christmas Day, New Year's Day, Good Friday and Labour Day. In most

of the other British colonies the usual number of public holidays is

from six to eight.

In the United States there is no legal holiday in the sense of the

English bank holidays. A legal holiday is dependent upon state and

territorial legislation. It is usual for the president to proclaim the

last Thursday in November as a day of thanksgiving; this makes it only a

legal holiday in the District of Columbia, and in the territories, but

most states make it a general holiday. Independence Day (July 4th) and

Labour Day (first Monday in September) are legal holidays in most

states. There are other days which, in connexion with particular events

or in remembrance of particular persons, have been made legal holidays

by particular states. For example, Lincoln's birthday, Washington's

birthday, Memorial Day (May 30th), Patriots' Day (April 19th, Maine and

Mass.), R. E. Lee's birthday (Jan. 19th, Ala., Fla., Ga., Va.),

Pioneers' Day (July 24th, Utah), Colorado Day (Aug. 1st), Battle of New

Orleans (Jan. 8th, La.), Bennington Battle Day (Aug. 16th, Vt.),

Defender's Day (Sept, 12th, Md.), Arbor Day (April 22nd, Nebraska;

second Friday in May R.I., &c.), Admission Day (September 9th, Cal.;

Oct. 31st, Nev.), Confederate Memorial Day (April 26th, Ala., Fla., Ga.,

Miss., May 10th, N. & S. Car., June 3rd, La., Miss., Texas), &c.

See M'Curdy, _Bibliography of Articles relating to Holidays_ (Boston,

1905). (T. A. I.)

HOLINSHED (or HOLLINGSHEAD), RAPHAEL (d. c. 1580), English chronicler,

belonged probably to a Cheshire family, and according to Anthony Wood

was educated at one of the English universities, afterwards becoming a

"minister of God's Word." The authenticity of these facts is doubtful,

although it is possible that Raphael was the Holinshed who matriculated

from Christ's College, Cambridge, in 1544. About 1560 he came to London

and was employed as a translator by Reginald or Reyner Wolfe, to whom he

says he was "singularly beholden." Wolfe was already engaged in the

preparation of a universal history, and Holinshed worked for some years

on this undertaking; but after Wolfe's death in 1573 the scope of the

work was abridged, and it appeared in 1578 as the _Chronicles of

England, Scotland, and Ireland_. The work was in two volumes, which were

illustrated, and although Holinshed did a great deal of the work he

received valuable assistance from William Harrison (1534-1593) and

others, while the part dealing with the history of Scotland is mainly a

translation of Hector Boece's _Scotorum historiae_. Afterwards, as is

shown by his will, Holinshed served as steward to Thomas Burdet of

Bramcott, Warwickshire, and died about 1580.

A second edition of the _Chronicles_, enlarged and improved but

without illustrations, which appeared in 1587, contained statements

which were offensive to Queen Elizabeth and her advisers, and

immediately after publication some of the pages were excised by order

of the privy council. These excisions were published separately in

1723. An edition of the _Chronicles_, in accordance with the original

text, was published in six volumes in 1808. The work contains a large

amount of information, and shows that its compilers were men of great

industry; but its chief interest lies in the fact that it was largely

used by Shakespeare and other Elizabethan dramatists; Shakespeare, who

probably used the edition of 1587, obtaining from the _Chronicles_

material for most of his historical plays, and also for _Macbeth_,

_King Lear_ and part of _Cymbeline_. A single manuscript by Holinshed

is known to be extant. This is a translation of Florence of Worcester,

and is in the British Museum. See W. G. Boswell-Stone, _Shakspere's

Holinshed_. _The Chronicle and the historical plays compared_ (London,

1896).

HOLKAR, the family name of the Mahratta ruler of Indore (q.v.), which

has been adopted as a dynastic title. The termination -_kar_ implies

that the founder of the family came from the village of Hol near Poona.

HOLL, FRANK (1845-1888), English painter, was born in London on the 4th

of July 1845, and was educated chiefly at University College School. He

was a grandson of William Holl, an engraver of note, and the son of

Francis Holl, A.R.A., another engraver, whose profession he originally

intended to follow. Entering the Royal Academy schools as a probationer

in painting in 1860, he rapidly progressed, winning silver and gold

medals, and making his debut as an exhibitor in 1864 with "A Portrait,"

and "Turned out of Church," a subject picture. "A Fern Gatherer" (1865);

"The Ordeal" (1866); "Convalescent" (the somewhat grim pathos of which

attracted much attention), and "Faces in the Fire" (1867), succeeded.

Holl gained the travelling studentship in 1868; the successful work was

characteristic of the young painter's mood, being "The Lord gave, and

the Lord hath taken away." His insatiable zeal for work of all kinds

began early to undermine the artist's health, but his position was

assured by the studentship picture, which created a sort of _furore_,

although, as with most of his works, the blackness of its coloration,

probably due to his training as an engraver, was even more decidedly

against it than the sadness of its theme. Otherwise, this painting

exhibited nearly all the best technical qualities to which he ever

attained, except high finish and clearness, and a very sincere vein of

pathos. Holl was much below Millais In portraiture, and far inferior In

all the higher ways of design; in technical resources, relatively

speaking, he was but scantily provided. The range of his studies and the

manner of his painting were narrower than those of Josef Israels, with

whom, except as a portrait-painter, he may better be compared than with

Millais. In 1870 he painted "Better is a Dinner of Herbs where Love is,

than a Stalled Ox and Hatred therewith"; "No Tidings from the Sea," a

scene in a fisherman's cottage, in 1871--a story told with

breath-catching pathos and power; "I am the Resurrection and the Life"

(1872); "Leaving Home" (1873), "Deserted" (1874), both of which had

great success; "Her First-born," girls carrying a baby to the grave

(1876); and "Going Home" (1877). In 1877 he painted the two pictures

"Hush" and "Hushed." "Newgate, Committed for Trial," a very sad and

telling piece, first attested the breaking down of the painter's health

in 1878. In this year he was elected A.R.A., and exhibited "The Gifts of

the Fairies," "The Daughter of the House," "Absconded," and a very fine

portrait of Samuel Cousins, the mezzotint engraver. This last canvas is

a masterpiece, and deserved the success which attended the print

engraved from it. Holl was overwhelmed with commissions, which he would

not decline. The consequences of this strain upon a constitution which

was never strong were more or less, though unequally, manifest in

"Ordered to the Front," a soldier's departure (1880); "Home Again," its

sequel, in 1883 (after which he was made R.A.). In 1886 he produced a

portrait of Millais as his diploma work, but his health rapidly declined

and he died at Hampstead, on the 31st of July 1888. Holl's better

portraits, being of men of rare importance, attest the commanding

position he occupied in the branch of art he so unflinchingly followed.

They include likenesses of Lord Roberts, painted for queen Victoria

(1882); the prince of Wales, Lord Dufferin, the duke of Cleveland

(1885); Lord Overstone, Mr Bright, Mr Gladstone, Mr Chamberlain, Sir J.

Tenniel, Earl Spencer, Viscount Cranbrook, and a score of other

important subjects. (F. G. S.)

HOLLAND, CHARLES (1733-1769), English actor, was born in Chiswick, the

son of a baker. He made his first appearance on the stage in the title

role of _Oroonoko_ at Drury Lane in 1755, John Palmer, Richard Yates and

Mrs Cibber being in the cast. He played under Garrick, and was the

original Florizel in the latter's adaptation of Shakespeare's _Winter's

Tale_. Garrick thought highly of him, and wrote a eulogistic epitaph for

his monument in Chiswick church.

His nephew, Charles Holland (1768-1849) was also an actor, who played

with Mrs Siddons and Kean.

HOLLAND, SIR HENRY, BART. (1788-1873), English physician and author, was

born at Knutsford, Cheshire, on the 27th of October 1788. His maternal

grandmother was the sister of Josiah Wedgwood, whose grandson was

Charles Darwin; and his paternal aunt was the mother of Mrs Gaskell.

After spending some years at a private school at Knutsford, he was sent

to a school at Newcastle-on-Tyne, whence after four years he was

transferred to Dr J. P. Estlin's school near Bristol. There he at once

took the position of head boy, in succession to John Cam Hobhouse,

afterwards Lord Broughton, an honour which required to be maintained by

physical prowess. On leaving school he became articled clerk to a

mercantile firm in Liverpool, but, as the privilege was reserved to him

of passing two sessions at Glasgow university, he at the close of his

second session sought relief from his articles, and in 1806 began the

study of medicine in the university of Edinburgh, where he graduated in

1811. After several years spent in foreign travel, he began practice in

1816 as a physician in London--according to his own statement, "with a

fair augury of success speedily and completely fulfilled." This

"success," he adds, "was materially aided by visits for four successive

years to Spa, at the close of that which is called the London season."

It must also, however, be in a great degree attributed to his happy

temperament and his gifts as a conversationalist--qualities the

influence of which, in the majority of cases belonging to his class of

practice, is often of more importance than direct medical treatment. In

1816 he was elected F.R.S., and in 1828 F.R.C.S. He became physician in

ordinary to Prince Albert in 1840, and was appointed in 1852 physician

in ordinary to the queen. In April 1853 he was created a baronet. He was

also a D.C.L. of Oxford and a member of the principal learned societies

of Europe. He was twice married, his second wife being a daughter of

Sydney Smith, a lady of considerable literary talent, who published a

biography of her father. Sir Henry Holland at an early period of his

practice resolved to devote to his professional duties no more of his

time than was necessary to secure an income of L5000 a year, and also to

spend two months of every year solely in foreign travel. By the former

resolution he secured leisure for a wide acquaintance with general

literature, and for a more than superficial cultivation of several

branches of science; and the latter enabled him, besides visiting, "and

most of them repeatedly, every country of Europe," to make extensive

tours in the other three continents, journeying often to places little

frequented by European travellers. As, moreover, he procured an

introduction to nearly all the eminent personages in his line of travel,

and knew many of them in his capacity of physician, his acquaintance

with "men and cities" was of a species without a parallel. The _London

Medical Record_, in noticing his death, which took place on his

eighty-fifth birthday, October 27, 1873, remarked that it "had occurred

under circumstances highly characteristic of his remarkable career." On

his return from a journey in Russia he was present, on Friday, October

24th, at the trial of Marshal Bazaine in Paris, dining with some of the

judges in the evening. He reached London on the Saturday, took ill the

following day, and died quietly on the Monday afternoon.

Sir Henry Holland was the author of _General View of the Agriculture

of Cheshire_ (1807); _Travels in the Ionian Isles, Albania, Thessaly

and Greece_ (1812-1813, 2nd ed., 1819); _Medical Notes and

Reflections_ (1839); _Chapters on Mental Physiology_ (1852); _Essays

on Scientific and other Subjects contributed to the Edinburgh and

Quarterly Reviews_ (1862); and _Recollections of Past Life_ (1872).

HOLLAND, HENRY FOX, 1ST BARON (1705-1774), English statesman, second son

of Sir Stephen Fox, was born on the 28th of September 1705. Inheriting a

large share of the riches which his father had accumulated, he

squandered it soon after attaining his majority, and went to the

Continent to escape from his creditors. There he made the acquaintance

of a countrywoman of fortune, who became his patroness and was so lavish

with her purse that, after several years' absence, he was in a position

to return home and, in 1735, to enter parliament as member for Hindon in

Wiltshire. He became the favourite pupil and devoted supporter of Sir

Robert Walpole, achieving unequalled and unenviable proficiency in the

worst political arts of his master and model. As a speaker he was fluent

and self-possessed, imperturbable under attack, audacious in exposition

or retort, and able to hold his own against Pitt himself. Thus he made

himself a power in the House of Commons and an indispensable member of

several administrations. He was surveyor-general of works from 1737 to

1742, was member for Windsor from 1741 to 1761; lord of the treasury in

1743, secretary at war and member of the privy council in 1746, and in

1755 became leader of the House of Commons, secretary of state and a

member of the cabinet under the duke of Newcastle. In 1757, in the

rearrangements of the government, Fox was ultimately excluded from the

cabinet, and given the post of paymaster of the forces. During the war,

which Pitt conducted with extraordinary vigour, and in which the nation

was intoxicated with glory, Fox devoted himself mainly to accumulating a

vast fortune. In 1762 he again accepted the leadership of the House,

with a seat in the cabinet, under the earl of Bute, and exercised his

skill in cajolery and corruption to induce the House of Commons to

approve of the treaty of Paris of 1763; as a recompense, he was raised

to the House of Lords with the title of Baron Holland of Foxley,

Wiltshire, on the 16th of April 1763. In 1765 he was forced to resign

the paymaster generalship, and four years later a petition of the livery

of the city of London against the ministers referred to him as "the

public defaulter of unaccounted millions." The proceedings brought

against him in the court of exchequer were stayed by a royal warrant;

and in a statement published by him he proved that in the delays in

making up the accounts of his office he had transgressed neither the law

nor the custom of the time. From the interest on the outstanding

balances he had, none the less, amassed a princely fortune. He strove,

but in vain, to obtain promotion to the dignity of an earl, a dignity

upon which he had set his heart, and he died at Holland House,

Kensington, on the 1st of July 1774, a sorely disappointed man, with a

reputation for cunning and unscrupulousness which cannot easily be

matched, and with an unpopularity which justifies the conclusion that he

was the most thoroughly hated statesman of his day. Lord Holland married

in 1744 Lady Georgina Caroline Lennox, daughter of the duke of

Richmond, who was created Baroness Holland, of Holland, Lincolnshire, in

1762. There were four sons of the marriage: Stephen, 2nd Lord Holland

(d. 1774); Henry (d. an infant); Charles James (the celebrated

statesman); and Henry Edward (1755-1811), soldier and diplomatist.

See Walpole's and other memoirs of the time, also the article FOX,

CHARLES JAMES.

HOLLAND, HENRY RICH, 1ST EARL OF (1590-1649), 2nd son of Robert, 1st

earl of Warwick, and of Penelope, Sir Philip Sidney's "Stella," daughter

of Walter Devereux, 1st earl of Essex, was baptized on the 19th of

August 1590, educated at Emmanuel College, Cambridge, knighted on the

3rd of June 1610, and returned to parliament for Leicester in 1610 and

1614. In 1610 he was present at the siege of Juliers. Favours were

showered upon him by James I. He was made gentleman of the bedchamber to

Charles, prince of Wales, and captain of the yeomen of the guard; and on

the 8th of March 1623 he was raised to the peerage as Baron Kensington.

In 1624 he was sent to Paris to negotiate the marriage treaty between

Charles and Henrietta Maria. On the 15th of September he was created

earl of Holland, and in 1625 was sent on two further missions, first to

Paris to arrange a treaty between Louis XIII. and the Huguenots, and

later to the Netherlands in company with Buckingham. In October 1627 he

was given command of the troops sent to reinforce Buckingham at Rhe, but

through delay in starting only met the defeated troops on their return.

He succeeded Buckingham as chancellor of Cambridge University; was

master of the horse in 1628, and was appointed constable of Windsor and

high steward to the queen in 1629. He interested himself, like his elder

brother, Lord Warwick, in the plantations; and was the first governor of

the Providence company in 1630, and one of the proprietors of

Newfoundland in 1637. In 1631 he was made chief-justice-in-eyre south of

the Trent, and in this capacity was responsible for the unpopular

revival of the obsolete forest laws. He intrigued at court against

Portland and against Strafford, who expressed for him the greatest

contempt. In 1636 he was disappointed at not obtaining the great office

of lord high admiral, but was made instead groom of the stole. In 1639

he was appointed general of the horse, and drew ridicule upon himself by

the fiasco at Kelso. In the second war against the Scots he was

superseded in favour of Conway. He opposed the dissolution of the Short

Parliament, joined the peers who supported the parliamentary cause, and

gave evidence against Strafford. He was, however, won back to the king's

side by the queen, and on the 16th of April 1641 made captain general

north of the Trent. Dissatisfied, however, with Charles's refusal to

grant him the nomination of a new baron, he again abandoned him, refused

the summons to York, and was deprived of his office as groom of the

stole at the instance of the queen, who greatly resented his

ingratitude. He was chosen by the parliament in March and July 1642 to

communicate its votes to Charles, who received him, much to his

indignation, with studied coldness. He was appointed one of the

committee of safety in July; made zealous speeches on behalf of the

parliamentary cause to the London citizens; and joined Essex's army at

Twickenham, where, it is said, he persuaded him to avoid a battle. In

1643 he appeared as a peacemaker, and after failing to bring over Essex,

he returned to the king. His reception, however, was not a cordial one,

and he was not reinstated in his office of groom of the stole. After,

therefore, accompanying the king to Gloucester and taking part in the

first battle of Newbury, he once more returned to the parliament,

declaring that the court was too much bent on continuing hostilities,

and the influence of the "papists" too strong for his patriotism. He was

restored to his estates, but the Commons obliged the Lords to exclude

him from the upper house, and his petition in 1645 for compensation for

his losses and for a pension was refused. His hopes being in this

quarter also disappointed, he once again renewed his allegiance to the

king's cause; and after endeavouring to promote the negotiations for

peace in 1645 and 1647 he took up arms in the second Civil War, received

a commission as general, and put himself at the head of 600 men at

Kingston. He was defeated on the 7th of July 1647, captured at St Neots

shortly afterwards, and imprisoned at Warwick Castle. He was tried

before a "high court of justice" on the 3rd of February 1649, and in

spite of his plea that he had received quarter was sentenced to death.

He was executed together with Hamilton and Capel on the 9th of March.

Clarendon styles him "a very well-bred man and a fine gentleman in good

times."[1] He was evidently a man of shallow character, devoid of

ability, raised far above his merits and hopelessly unfit for the great

times in which he lived. Lord Holland married Elizabeth, daughter and

heiress of Sir Walter Cope of Kensington, and, besides several

daughters, had four sons, of whom the eldest, Robert, succeeded him as

2nd earl of Holland, and inherited the earldom of Warwick in 1673.