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 mont and Fletcher; Stanmore in Southerne's ‘Oroonoko;’ Wildman in Mrs. Manley's ‘Lost Lover;’ Fairly in Thomas Scott's ‘Mock Marriage;’ Welborn in Mrs. Behn's ‘Younger Brother;’ and Artaban in ‘Neglected Virtue, or the Unhappy Conqueror,’ an anonymous play which Horden published, and to which he wrote and spoke the prologue. He is said by Davies to have written a Latin encomium on the ‘Treacherous Brothers’ of George Powell, who appears to have been his associate (Dramatic Miscellany, iii. 415, 416). Horden was killed (18 May 1696) in a frivolous and accidental brawl at the bar of the Rose Tavern in Russell Street, Covent Garden, a notorious haunt of gamblers and rufflers. Captain Burgess, who had been English resident in Venice, and other persons of distinction were charged with causing Horden's death. Burgess escaped, and received the king's pardon (30 Nov. 1697). The others were tried and acquitted. Colley Cibber credits Horden with the possession of a handsome person, a good deal of table wit and humour, and almost every natural gift that could promise an excellent actor, and says he was rising rapidly in public favour. Cibber continues: ‘Before he was bury'd it was observable that two or three days together several of the fair sex, well dressed, came in masks [then frequently worn], and some in their own coaches, to visit the theatrical heroe in his shroud’ (Apology, ed. Lowe, i. 303–4). The author of the ‘List of English Dramatic Poets,’ appended to Whincop's ‘Scanderbeg,’ credits him with the authorship of ‘Neglected Virtue’ before mentioned, no great honour, and says he was seven years on the stage. Genest abridges the period by four to five years.

HORMAN, WILLIAM (d. 1535), vice-provost of Eton, was born at Salisbury, and educated partly at Winchester. According to Bale and Pits (De Illustr. Angl. Script. p. 722) he proceeded thence to King's College, Cambridge; but according to Wood (Athenæ Oxon. ed. Bliss, i. 78), he was fellow of New College, Oxford, from 1477 to 1485. In the latter year he became master of Eton, and in 1494 was presented by the college to the rectory of East Wrotham, Norfolk. In 1502 he became fellow of Eton; in 1503 he resigned his rectory, and subsequently he became vice-provost. He died at Eton 12 April 1535, and was buried in the college chapel, where there is a brass bearing his effigy and an epitaph. The latter, which is printed by Wood, suggests that he lived nearly one hundred years (‘lustra vicena’).

Horman was one of the most prolific writers of his time, many of his works being apparently compendia for school use; but he seems to have been a good critic and a scholarly divine. Only two of his works are known to have been printed, his ‘Vulgaria’ and ‘Antibossicon.’ The former, a valuable collection of sentences and aphorisms in Latin and English, was first printed by Pynson in 1519, 4to, and secondly by De Worde in 1540, both editions unpaged. The ‘Antibossicon’ (Pynson, 1521, 55 leaves, 4to, without pagination) is an attack in the form of a dialogue, partly written by Robert Aldrich [q. v.], on the grammatical works of Robert Whitynton, who had affixed to the door of St. Paul's verses written under the quaint pseudonym of ‘Bossus,’ abusing Horman's friend, William Lily [q. v.]. Horman is said to have written nearly thirty other works, but of these the titles are alone preserved by Bale, viz. ‘In Theologiam Gabrielis Biel;’ ‘Fascis rerum Britannicarum;’ ‘Farrago Historiarum’ and ‘Farrago plurium;’ ‘Compendium Historiæ Gul. Malmsburiensis;’ ‘Epitome Historiæ Joh. Pici com. Mirandulæ;’ ‘De secundo regis connubio;’ ‘Collectanea Diversorum;’ ‘Sophicorum flores;’ ‘Anatomia membrorum hominis’ and ‘Anatomia corporis humani;’ ‘Orationes et carmina;’ ‘Epistolæ ad diversos;’ ‘Elegiæ in mortem Gul. Lilii;’ ‘Apotheca carminum jucundorum;’ ‘De arte dictandi;’ ‘De orthographia;’ ‘Penultimarum syllabarum tempora;’ ‘Herbarum synonyma;’ ‘Indices Chronicorum;’ ‘In Chronica Sabellici;’ ‘Ejusdem Decades rerum Venetarum;’ ‘In Catonem, Varronem, Palladium;’ ‘In Columellam, de re rustica,’ and ‘In Moralia Æsopi.’

HORN, ANDREW (d. 1328), chamberlain of London and legal writer, born in London, carried on the trade of a fishmonger in Bridge Street. In 1315 he, with fifteen other fishmongers, was summoned before the sheriffs of London on a charge of using dorsers or baskets ‘not of rightful measure.’ Horn and one other person were acquitted (, Memorials of London, 1868, p. 116).


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 He was elected chamberlain of the city in January 1319–20, and continued in that office till his death. Horn was present at a meeting of the mayor and aldermen in 1327 (ib. p. 169). He died in 1328, and his will, dated 9 Oct. of that year, is enrolled in the Court of Husting (, Calendar of Husting Wills, i. 344–5). His accounts as chamberlain, up to 18 Oct. 1328, were rendered by his executors, and passed in August of the following year (ib. i. 344). He leaves to the chamber of the Guildhall of London several valuable books: ‘De gestis Anglorum,’ ‘De veteribus legibus Angliæ,’ and other manuscripts, some of which have been identified as still in the possession of the corporation. He was unmarried, and left his property to be divided among his brother, William Horn, rector of the church of Rotherhithe, William and Simon Doggett, his nephews, and Cristina his niece. Besides his residence in Bridge Street, he possessed a house in Eastcheap.

Horn is chiefly known by a valuable compilation of city laws and customs preserved among the records at Guildhall, and entitled ‘Liber Horn,’ which is composed of two or more distinct treatises. It contains an early copy of the laws of Oleron (Black Book of the Admiralty, ed. Sir Travers Twiss, Introd. pp. lix–lx); on folio ccvi, where a fresh compilation of charters, statutes, &c., commences, there is an illuminated frontispiece containing a rubricated note briefly describing the contents of the volume (‘Quem fieri fecit anno Domini ’). Horn was also the author (or perhaps editor) of the well-known legal treatise ‘La Somme appelle Mirroir des Justices, vel Speculum Justiciariorum, factum per A. H.,’ of which a sixteenth-century manuscript copy is in the British Museum (Addit. MS. 25033). Printed editions of the book appeared in 1624, London, 12mo; 1642, London, 16mo; in 1776, in Hoüard's ‘Traité sur les coutumes Anglo-Normandes,’ tome 4, 4to; and an English translation by W[illiam] H[ughes] in 1646, London, 8vo, 1649, 12mo, 1659, 8vo, and 1768, 8vo. A new edition, edited from MS. in Corpus Christi College, Cambridge, by W. J. Whittaker, with translation and introduction by F. W. Maitland, was issued by the Selden Society in 1895.

HORN, CHARLES EDWARD (1786–1849), vocalist and composer, was the second son of Karl Friedrich Horn (1762–1830), musician, who came to England from Saxony as a valet in 1782, and was appointed music-master to Princesses Augusta and Elizabeth about 1789, and organist to St. George's Chapel, Windsor, in 1823. Charles Edward Horn was born in London in 1786. He was taught music by his father, and had a few lessons at Bath from Rauzzini in 1808. He made his début at the English Opera House in King's ‘Up all Night,’ but after composing an unsuccessful melodrama, ‘The Magic Bride,’ he took lessons from Thomas Welch in 1809, and did not again appear on the stage until 1814. He then took the part of the Seraskier in Storace's ‘Siege of Belgrade’ with success; but it was his performance as Caspar in ‘Der Freischütz’ at Drury Lane, 1824, that established his reputation, and made him for many seasons a favourite singer. The compass of his voice enabled him to take tenor or baritone parts at will, and he was a good actor. In 1835, however, the loss of his voice through illness obliged him to quit the stage. He subsequently removed to New York, where he had sung with success in 1827, and entered into a music publisher's business with Mr. Davis as partner. During one of his visits to England, 1843–7, Horn was appointed director of music at the Princess's Theatre, but in 1848 he became conductor of the Haydn and Handel Society at Boston, and died there on 21 Oct. 1849. Horn was twice married; his first wife was Miss Ray, an actress, and his second, Miss Horton, who died in 1887.

Horn's music pleased the public by its simplicity and brightness. Like James Hook [q. v.], he composed one or two airs which may claim a place among national ballads, e.g. ‘Cherry Ripe’ (1825?), and the duet, ‘I know a bank.’ Other of Horn's most popular songs are ‘Child of Earth’ and ‘Through the Wood,’ 1830?; ‘I've been roaming,’ 1835; ‘All things love thee,’ 1844; and ‘The Mermaid's Cave,’ 1855. Of his more elaborate productions the best known were the operas, ‘Magic Bride’ and ‘Tricks upon Travellers’ (with Reeve), 1810; ‘The Beehive’ and ‘The Boarding House,’ 1811; ‘Rich and Poor’ and ‘The Devil's Bridge’ (with Braham), 1812; ‘Godolphin,’ 1813; ‘The Statue’ and ‘The Woodman's Hut,’ 1814; ‘Charles the Bold,’ 1815; ‘The Persian Hunters,’ 1816; ‘Election’ and the ‘Wizard,’ 1817; ‘Dirce,’ 1821; ‘Actors al fresco’ (with Cooke and Blewitt) and ‘Merry Wives of Windsor’ (with S. Webbe, jun., Parry, &c., ‘I know a bank’ introduced), 1823; ‘Philandering,’ 1824; ‘The Death Fetch’ and ‘Peveril of the Peak’ (comic), 1826; ‘Pay to my Order,’ 1827; ‘Honest Frauds’ (with ‘Deep, deep Sea,’ sung by Malibran), 1830; ‘Christmas Bells,’ performed in America. ‘Ahmed al Kamel, the Pilgrim of Love,’ Horn's last opera, was brought out under his direction at the New

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