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The New International Encyclopædia/Koran

KORAN, or  (Ar. ḳur'ān, lection, from ḳara'a, to read; cf. the later Heb. Miḳra, the written Book, i.e. the Bible). The sacred book of the Mohammedans. The name was given by Mohammed himself to a single revelation, or a collection of revelations, and was afterwards applied to the body of his utterances as gathered together in one book, forming the basis for the religious, social, civil, commercial, military, and legal regulation of Islam. The Koran is also known under various other names, such as: Furḳ-ān (salvation); Al-Muṣḥaf (the volume); Al-Kitāb (the Book, in the sense of ‘Bible’); Al-Dhikr (the reminder, or the admonition).

According to the orthodox views the Koran is coeval with God, uncreated, eternal. Its first transcript was written from the beginning in rays of light upon a gigantic tablet resting by the throne of the Almighty, and upon this tablet are also found the divine decrees relating to things past and future. A copy of it, in a book bound in white silk, jewels, and gold, was brought down to the lowest heaven by the angel Gabriel, in the blissful and mysterious night of Al-Kadr, in the month of Ramadan. Portions of it were, during a space of twenty-three years, communicated to Mohammed, at both Mecca and Medina, either by Gabriel in human shape, “with the sound of bells,” or through inspiration from the Holy Ghost, “in the Prophet's breast,” or by God Himself, “veiled and unveiled, in waking or in the dreams of night.” Traditions vary with respect to the length of the individual portions revealed at a time, between single letters, verses, and entire chapters (or suras). Setting aside the fanciful and semi-mystical speculations, there is general agreement among Mohammedans that the earliest revelation is represented by verses 1 to 5 of sura xcvi., which begins with the words, “Proclaim the name of thy Lord, who has created all things.”

At the beginning of his career Mohammed did not make any efforts to have his utterances preserved. While it is possible that he was able to read and write, he certainly did not write any of the suras himself. It was only as his movement spread that the importance attached to the Prophet's ‘revelations’ suggested the necessity of giving them a more permanent form, and in the second part of his career, after the flight to Medina (622), he appears systematically to have dictated his revelations to a scribe; and it would appear that he also revised the form of earlier utterances which had been either orally preserved or written down promiscuously by some of his zealous followers. Within a year of Mohammed's death (632) the first attempt at a collection of the Prophet's utterances was made by Abu-bekr. He intrusted the task to Zaid ibn Thabit, the last secretary of Mohannned. Copies of these

utterances already existed, and it was from these that Zaid prepared an authoritative compilation to be known henceforth as the Koran. This volume passed, after the death of Abu-hekr, into the hands of Omar, and by Omar was intrusted to the keeping of Hafsa, one of the Prophet's wives, the daughter of Omar. Differences of opinion in regard to the text of the Koran still prevailed after Zaid's edition was completed, and accordingly a second redaction was instituted in the thirtieth year of the Hejira by Caliph Othman, not for the sake of arranging and correcting the text, but in order to insure unity. This work was intrusted to four editors of recognized authority, of whom Zaid was one. With respect to the succession of the single chapters, 114 in number, no attempt was made at establishing continuity, but they were placed side by side according to their respective lengths; so that immediately after the introductory exordium follows the longest chapter, and the others are ranged after it in decreasing size, though this principle is not strictly adhered to. They are not numbered in the manuscripts, but bear distinctive, often strange-sounding, headings; as: the Cow, Congealed Blood, the Fig, the Star, the Towers, Saba, the Poets, etc., taken from a particular matter or person treated of in the respective chapters. Every chapter or sura begins with the introductory formula, “In the name of God, the Merciful, the Compassionate.” It is further stated at the beginning whether the sura was revealed at Mecca or at Medina. Every chapter is subdivided into smaller portions (Ayah, Heb. Oth, sign, letter), varying in the ancient copies (of Medina, Cufa, Basra, and Damascus, and the ‘vulgar edition’) between 6000 and 6036. The number of words in the whole book is 77,639, and an enumeration of the letters shows an amount of 323,015 of these. Other (encyclical) divisions of the book are into 30 ajzā and into 60 ahzāb, for the use of devotional readings in and out of the mosque. Twenty-nine suras commence with certain letters of the alphabet, which are supposed by Mohammedans to be of mystic import, but which are probably monograms of private collectors or authorities.

The contents of the Koran as the basis of Mohammedanism will be considered under that head, while for questions more closely connected with authorship and chronology, consult. Briefly it may be stated here that the chief doctrine laid down in it is the unity of God, and the existence of but one true religion, with changeable ceremonies. As teachers and warners of mankind, God, at different times, sent prophets to lead back to truth, Moses, Christ, and Mohammed being the most distinguished. Both punishments for the sinner and rewards for the pious are depicted with great diffuseness, and exemplified chiefly by stories taken from the Bible, the apocryphal writings, the Midrash, and pre-Islamic history. Special laws and directions, admonitions to moral and divine virtues, more particularly to a complete and unconditional resignation to God's will (see ), legends, principally relating to the patriarchs, and, almost without exception, borrowed from the Jewish writings (known to Mohammed by oral communication only, a circumstance which accounts for their frequent odd confusion), form the bulk of the book, which throughout bears the most palpable traces of Jewish influence. Thus, of ideas and

words taken bodily, with their Arabicized designations, from Judaism, may be mentioned: Ḳur'ān = miḳra (reading); furḳān (salvation); the introductory formula, bismillah (in the name of God); taurāt = tōrah (book of law); jinnah = gan ēden (paradise); jahinnam (hell); darasa = darash (to search the scriptures); subāt, sabt = shabbāth (day of rest); sakinah (majesty of God). It is especially in the later suras that Mohammed, for the edification of his hearers, introduced (in imitation of Jewish and Christian preachers) stories and legends of biblical personages.

The suras may be divided into three general classes: those delivered during the first years of Mohammed's preaching in Mecca, those delivered during the latter part of his stay in that city, and those delivered in Medina. In the oldest suras Mohammed is concerned mainly with depicting the power and unity of God, with the resurrection and the judgment day, with depicting the blessedness of paradise and the tortures of hell. These subjects are elaborated in the suras of the middle and last period. While in the earlier ones Mohammed claims to be only a preacher sent to warn people, in the later ones he steps forward boldly with the claim of being a divinely sent prophet, whose utterances represent revelations made to him by the angel Gabriel. The duties obligatory upon Moslems are all discussed in the later suras, though the formation into codes was reserved for the Mohammedan theologians. Incidentally his polemics against his personal enemies, and especially against Judaism and Christianity, are introduced into the Koran, the Jews being accused of falsifying the Scriptures, the Christians of running counter to the doctrine of the unity of God by the assumption that Jesus was a son of God. The discourses themselves are of a rambling nature, and numerous social customs are touched upon. In this way the Koran becomes a mirror in which Mohammed's personality is reflected with a clearness which leaves little to be desired. It properly was taken as the basis for the elaboration of a Mohammedan system of theology, for there is scarcely any topic connected with the law upon which it does not touch, though never exhaustively. Its lack of system, and its discursiveness, make the Koran hard reading, but its interest and value to the student are all the greater because of the assurance these very defects give us that we have in the Koran a work that is in all essential particulars authentic.

The general tendency and aim of the Koran is found clearly indicated in the beginning of the second chapter: “This is the book in which there is no doubt; a guidance for the pious, who believe in the mysteries of faith, who perform their prayers, give alms from what we have bestowed upon them, who believe in the revelation which we made unto thee, which was sent down to the prophets before thee, and who believe in the future life,” etc. To unite the three principal religious forms which he found in his time and country—viz. Judaism, Christianity, and heathenism—into one, was Mohammed's ideal; and the Koran, properly read, discloses constantly the alternate flatteries and threats aimed at each of the three parties. No less are certain abrogations of special passages in the Koran, made by the Prophet himself due to the

relation in which he at first stood to the different creeds.

The language of the Koran has become the ideal of classical Arabic, and no human pen is supposed to be capable of producing anything similar; a circumstance adduced by Mohammed himself, as a clear proof of his mission. The style varies considerably; in the earlier suras concise and bold, sublime and majestic, impassioned, fluent, and harmonious; in the later ones verbose, sententious, obscure, tame, and prosy. There are passages of great beauty and power suggesting the Hebrew prophets. By means of the difference in style between the earlier and later suras modern investigators have endeavored to form a chronological arrangement. A general consensus has now been arrived at; though questions of detail must always remain in dispute, as many of the suras are composite in character. A great deal depends also upon internal evidence, which fortunately is found in considerable abundance. Mohammed, especially in the later years of his career, was in the habit of introducing allusions to events of the day, to disputations with Jews and Christians, to his ambitions and aims, into his discourses; and since, in addition to the Koran, we have the copious collections known as ../Hadith/ (q.v.) containing utterances, sayings and doings, and decisions of Mohammed at the various periods of his career, it is in many cases possible to attach utterances in the Koran to specific occasions, and thus fix the age of the sura in which a certain expression or opinion occurs. The Koran is written in prose, yet the two or more links of which a sentence is generally composed sometimes rhyme with each other, a peculiarity of speech (called saj') used by the ancient soothsayers (kuhhān-kōhēn) of Arabia; only that Mohammed used his own discretion in remodeling its form and freeing it from conventional fetters; and thus the rhyme of the Koran became an entirely distinctive rhyme. Refrains are introduced in some suras, and plays upon words are not disdained.

The outward reverence in which the Koran is held throughout Mohammedanism is exceedingly great. It is never held below the girdle, never touched without previous purification; and an injunction to that effect is generally found on the cover which overlaps the boards, according to Eastern binding. It is consulted on weighty matters; sentences from it are inscribed on banners, doors, etc. Great lavishness is also displayed upon the material and the binding of the sacred volume. The copies for the wealthy are sometimes written in gold, and the covers blaze with gold and precious stones.

The Koran has been commented upon so often that the names of the commentators alone would fill pages. The most renowned are those of Zamakhshari (died A.H. 539), Beidhawī (died A.H. (685 or 716), Mahalli (died A.H. 870), and Suyuti (died A.H. 911). The principal editions are those of Hinkelmann (Hamburg, 1694); Maracci (Padua, 1698); Flügel (Leipzig, 1883); besides many editions (of small critical value) printed in Saint Petersburg, Kazan, Teheran, Calcutta, Cawnpore, and Serampore, and by the many newly erected Indian presses. There is a chrestomathy with notes and vocabulary by Nallino (Leipzig, 1893). The first, but very imperfect, Latin version of the Koran was made by Robertus Retensis, an Englishman, in 1143

(ed. Basel, 1543). The principal translations are those of Maracci, into Latin (1698); Sale (1st ed. 1734, one of the best translations in any language, edited by Wherry with additional matter, 1881-80), Rodwell (2d ed., 1870), and Palmer (1880), into English; Savary (1783), Garcin de Tassy (1829), Kazimirski (1840), into French; Megerlin (1772), Wahl (1828), Ullmann (1840), Grigull (1901), and Henning in the Reclam Universal-Bibliothek, into German; Reckendorf into Hebrew (1857); besides a great number of Persian, Turkish, Malay, Hindustani, and other translations made for the benefit of the various Eastern Mohammedans. The attempt to reproduce the style and rhyme of the original was first made by J. von Hammer (1811); this was improved upon by A. Sprenger (1861-65), Fr. Rückert (1888), and by M. Klamroth (1890). All of these are in German. The Speeches and Table-Talk of the Prophet Mohammed, chosen and translated by Stanley Lane-Poole (London, 1882), is a selection from the best that is in the Koran. Of concordances to the Koran may be mentioned that of Flügel (Leipzig, 1842), and the Nojon-ol-Forkan (Calcutta, 1811); La Beaume, Le Koran analysé (Paris, 1878), is a topical index to the French translations of Kazimirski and others. There are Koran lexicons by Dieterici (2d ed., Berlin, 1894) and Penrice (London, 1873). The introduction and notes to Sale's translation contain material that is still of value, though in large measure superseded now by Nöldeke, Geschichte des Korans (Göttingen, 1860); Weil, Historisch-kritische Einleitung in den Koran (Bielefeld, 1844); Grimme, Mohammed, 2ter Theil; Einleitung in den Koran; System der koranischen Theologie (1895); Hirschfeld, New Researches into the Composition and Exegesis of the Koran (Eng. trans. London, 1902). Consult also the lives of Mohammed and other works mentioned in the articles and .


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Rh "That they are your friends, and are quite safe, is nothing to me," said Moreland, insolently. "I wish to speak with you in private."

"Don't you think you would like to know my friends?" said Calton, coolly, taking no notice of his remark.

"D— your friends, sir!" cried Moreland, furiously, rising from his seat.

Calton laughed, and introduced Mr. Moreland to the others.

"Dr. Chinston, Mr. Kilsip, and—Mr. Fitzgerald."

"Fitzgerald!" gasped Moreland, growing pale. "I—I—what's that?" he shrieked, as he saw Whyte's coat, all weather-stained, lying on a chair near him, and which he immediately recognized.

"That is the rope that's going to hang you," said Kilsip, quietly, coming behind him, "for the murder of Oliver Whyte."

"Trapped, by G—!" said the wretched man, wheeling round so as to face Kilsip. He sprang at the detective's throat, and they both rolled together on the floor, but the latter was too strong for him, and, after a sharp struggle, he succeeded in getting the handcuffs on Moreland's wrists. The others stood around perfectly quiet, knowing that Kilsip required no assistance. Now that there was no possibility of escape, Moreland seemed to become resigned, and rose sullenly off the floor.

"By G—! I'll make you pay for this," he hissed between his teeth, with a white, despairing face. "You can't prove anything."

"Can't we?" said Calton, touching the confession. "You are wrong. This is the confession of Mark Frettlby, made before he died."

"It's a d—d lie."

"A jury will decide that," said the barrister, dryly. "Meanwhile you will pass the night in the Melbourne gaol."

"Ah! perhaps they'll give me the same cell as you occupied," said Moreland, with a hard laugh, turning to Fitzgerald. "I should like it for its old associations."

Brian did not answer him, but, picking up his hat and gloves, prepared to go.

"Stop!" cried Moreland, fiercely. "I see that it is all up with me, so I'm not going to lie like a coward. I've

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406 Author:Alanson Skinner

Author:Grafton Elliot Smith

Author:Harlan Ingersoll Smith

Author:Ole Solberg

Author:Frank G. Speck

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236 played for a big stake and lost, but if I hadn't been such a fool, I'd have cashed that cheque next morning and been far away by this time."

"It would certainly have been wiser," said Calton.

"After all," said Moreland, nonchalantly, taking no notice of his remark, "I don't know that I'm sorry about it. I've had a hell upon earth since I killed Whyte."

"Then you acknowledge your guilt?" said Brian, quietly.

Moreland shrugged his shoulders.

"I told you I wasn't a coward," he answered, coolly. "Yes, I did it; it was Whyte's own fault. When I met him that night he told me how Frettlby wouldn't let him marry his daughter, but said that he'd make him, and showed me the marriage certificate. I thought if I could only get it I'd make a nice little pile out of Frettlby over it; so when Whyte went on drinking I did not. After he had gone out of the hotel I put on his coat, which he left behind. I saw him standing near the lamp post, and Fitzgerald come up and then leave him. When you came down the street," he went on turning to Fitzgerald, "I shrank back into the shadow, and when you passed I ran up to Whyte as the cabman was putting him into the hansom. He took me for you, so I didn't undeceive him, but I swear I had no idea of murdering Whyte when I got into the cab. I tried to get the papers, but he wouldn't let me, and commenced to sing out. Then I thought of the chloroform in the pocket of his coat, which I was wearing. I pulled it out, and found that the cork was loose. Then I took out Whyte's handkerchief, which was also in the coat, and emptied the bottle on it, and put it back in my pocket. I again tried to get the papers, without using the chloroform, but couldn't, so 1 clapped the handkerchief over his mouth, and he went off after a few minutes, and I got the papers. I thought he was only insensible, and it was only when I saw the newspaper that I knew he was dead. I stopped the cab in St. Kilda Road, got out and caught another cab, which was going to town. Then I got out at Powlett Street, took off the coat, and carried it over my arm. I went down George Street, towards the Fitzroy Gardens, and having hid the coat up a tree, where I suppose you found it," to Kilsip, "I walked home—so I've done you all nicely, but——"


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Rh "You're caught at last," finished Kilsip, quietly.

Moreland fell down in a chair, with an air of utter weariness and lassitude.

"No man can be stronger than Destiny," he said, dreamily. "I have lost and you have won; so life is a chess-board, after all, and we are the puppets of Fate."

He refused to utter another word; so, leaving Calton and Kilsip with him, Brian and the doctor went out and hailed a cab. It drove up to the entrance of the court where Calton's office was, and then Moreland, walking as if in a dream, left the room and got into the cab, followed by Kilsip.

"Do you know," said Chinston, thoughtfully, as they stood and watched the cab drive off, "do you know what the end of that man will be?"

"It requires no prophet to foretell that," said Calton, dryly. "He will be hanged."

"No, he won't," retorted the doctor. "He will commit suicide."

There are certain periods in the life of men when Fate seems to have done her worst, and any further misfortunes which may befall are accepted with a philosophical resignation, begotten by the very severity of previous trials. Fitzgerald was in this state of mind—he was calm, but it was the calmness of despair—the misfortunes of the past year seemed to have come to a climax, and he looked forward to the publication of the whole bitter story with an indifference that surprised himself. His own name, and that of Madge and her dead father, would be on every tongue, yet he felt perfectly callous to whatever might be said on the subject. As long as Madge recovered, and they could go away to another part of the world, leaving Australia with its bitter memories behind—he did not care. Moreland would suffer the bitter penalty of his crime, and then nothing more would ever be heard of the matter. It would be better for the whole story to be told, and momentary pain endured, than to go on striving to hide the infamy and shame which might be discovered at any moment. Already the news was all over


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Rh Aymara, distribution, ; stock,

Aztec,, , , , , , , , , , , , ; culture, similarity to Maya, -; most typical of the Nahua culture,

Bakairi,

Balsa, distribution of, ; in Plateau area,

Bands, found among hunting groups, -; quill-worked, ,

Bannerstone, ; possibly a mesh gauge,

Barefoot regions, outlined, -

Bark-beater, ridged, -

Basketry, -, ; area, outlined, ; California area,, , ; cane, , ; central group, North Pacific Coast tribes, ; decorations on, ; distinguished from cloth, ; distribution of types, ; eastern maize area, ; Eskimo, , ; Haida and Tlingit, -; imbricated, ; Northern Shoshonean tribes, ; Pima, ; Plateau area, ; Southeastern area, ; Southwestern area, ; splint, -; techniques, -; Tlingit,

Baskets, Aleutian, -; California, designs on analyzed, ; California, specialization in, ; cane,, ; classification of, ; cooking, ; decoration of, -; flexible,

Bast fibers, used in textiles, -

Beadwork, ; design elements in Plains, ; floral designs on, ; Plains designs analyzed,

Bear, belief in power of,

Bee, domestication of,, ,

Betel nut culture, analogy of tobacco chewing to,

Berries, used as food, Déné, ; Carrier, ; salmon area, ; and fruits, rarity in acorn area,

Birchbark, canoes of, ; covers for tipis, ; decorations on,, ; high development of drawing on, ; vessels and canoes associated, ; work in, Mackenzie area,

Bison area,, , , , , , , , , , , , , ; costume, ; described, ; designs, ; pottery made in, ; types of cultures in,

Bison, eastern range of, ; methods of hunting, ; use of centered in the Plains,. See also buffalo

"Black drink," Southeastern area, ; widespread use of,

Black-on-white pottery, distribution,

Blanket, Chilkat,, , , -, ; Navajo, , ; rabbitskin, -,

Blind dupe, distribution of story,

Blood-clot Boy, story,

Blood feuds, among tribes with simple organization,

Blood, offering, among Maya and Nahua, ; as a means of purification, ; vengeance, right of recognized in North America, ; vengeance, tribes of Gulf states,

Blowgun, distribution, ; used in hunting, Amazon Basin,

Boats, Eskimo, ; frame, distribution, ; in the New World, ,

Bochica, Chibcha culture hero, ,

Bodily proportions,, , ; unity of in the New World,

Bola,, , ; stone, Patagonia,

Bone, artifacts, in Missouri Valley, ; objects of, California area, ; prevailing tool material in hunting areas, ; process of working, -

Boomerang, Pueblo area,

Boundaries, to culture areas, -; of pottery area,

Bow, in bison area, ; distribution, ; musical, ; sinew-backed, ; universal use of, -

Bowdrill,

Bowls, knot, Eastern Woodland area,

Boxes, and plank work, specialization in,

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238 Melbourne that the murderer of Oliver Whyte had been captured, and that his confession would bring to light certain startling facts concerning the late Mark Frettlby. Brian well knew that the world winked at secret vices as long as there was an attempt at concealment, though it was cruelly severe on those which were brought to light, and that many whose lives might be secretly far more culpable than poor Mark Frettlby's, would be the first to slander the dead man. The public curiosity, however, was destined never to be gratified, for the next day it became known that Roger Moreland had hanged himself in his cell during the night, and had left no confession behind him.

When Brian heard this, he breathed a heartfelt prayer of thanks for his deliverance, and went to see Calton, whom he found at his chambers, in deep conversation with Chinston and Kilsip. They all came to the conclusion that as Moreland was now dead, nothing could be gained by publishing the confession of Mark Frettlby, so agreed to burn it, and when Fitzgerald saw in the heap of blackened paper in the fireplace all that remained of the bitter story, he felt a weight lifted off his heart. The barrister, Chinston, and Kilsip, all promised to keep silent on the subject, and they kept the promise nobly, for nothing was ever known of the circumstances which led to the death of Oliver Whyte, and it was generally supposed that it must have been caused by some quarrel between the dead man and his friend, Roger Moreland.

Fitzgerald, however, did not forget the good service that Kilsip had done him, and gave him a sum of money that made him independent for life, though he still followed his old profession of a detective from sheer love of excitement, and was always looked upon with admiration as the man who had solved the mystery of the famous hansom cab murder. Brian, after several consultations with Calton, at last came to the conclusion that it would be no use to reveal to Sal Rawlins the fact shat she was Mark Frettlby's daughter, as by the will the money was clearly left to Madge, and such a revelation could bring her no pecuniary benefit, while her bringing up unfitted her for her position; so a yearly income, more than sufficient for her wants, was settled upon her, and she was allowed to remain in ignorance of her parentage. The influence of Sal


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Rh Rawlins' old life, however, was very strong on her, and she devoted herself to the task of saving her fallen sisters. Knowing, as she did, all the intricacies of the slums, she was enabled to do an immense amount of good, and many an unhappy woman was saved from the squalor and hardship of a gutter life by the kind hand of Sal Rawlins.

Felix Rolleston became a member of Parliament, where his speeches, if not very deep, were at least amusing, and while in the House always behaved like a gentleman, which could not be said about all his parliamentary colleagues.

Madge slowly recovered from her illness, and, as she had been implicitly named in the will as the heiress to Mark Frettlby's great wealth, she placed the management of her estates in the hands of Mr. Calton, who, with Thinton & Tarbet, acted as her agents in Australia. On her recovery she learned the story of her father's early marriage, but both Calton and Fitzgerald were silent about the fact of Sal Rawlins being her half-sister, as such a relation could do no good, and would only create a scandal, as no explanation could be given except the true one. Shortly afterwards Madge married Fitzgerald, and both of them only too gladly left Australia, with all its sorrows and bitter memories.

Standing with her husband on the deck of one of the P. and O. steamers, as it plowed the blue waters of Hobson's Bay into foam, they both watched Melbourne as it gradually faded from their view, under the plow of the sunset. They could see the two domes of the Exhibition, and the Law Courts, and Government House with its tall tower rising from the midst of the green trees. In the background was a bright crimson sky, barred with masses of black clouds, and over all the great city hung a cloud of smoke like a pall.

The glaring red light of the sinking sun glared angrily on the heavy waters, and the steamer seemed to be making its way through a sea of blood. Madge, clinging to her husband's arm, felt her eyes fill with tears, as she saw the land of her birth receding slowly.

"Good-bye," she murmured, softly. "Good-bye for ever."

"You do not regret?" he said, bending his head.


text: Appletons' Cyclopædia of American Biography/Haddock, John A.


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 is whether the snakes are drugged or have their fangs removed, and, if not, whether they ever bite their captors. Men who have attended as many as ten dances in various Moki pueblos say that they have never seen a dancer bitten by a poisonous snake, while others have seen a reptile strike or perhaps fasten upon the hand of a dancer and require to be shaken off. In the present state of the question everyone must judge for himself. One thing is very certain, the Mokis are extremely careful with a poisonous snake. At Wolpi, in 1897, two

large rattlesnakes, which from their age had perhaps been danced around the ring before, coiled together and for a time refused to move, almost breaking up the performance. An experienced snake driver at length succeeded in making them uncoil, when they were easily picked up. This is thought to be the secret of handling the rattlesnake; never to handle him when he is coiled, for it is said that this serpent cannot strike without

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 coiling. Then, too, the snakes may have been somewhat subjugated by their bewildering treatment, since they were dragged from their haunts by naked men armed with hoes and sticks, thrust with other snakes into a bag and brought to the kivas, and afterward washed and uncivilly flung about. The Snake dance is exciting enough, but the two or three men who have witnessed the sinister rites called "snake washing" in the dark kiva tell a story which makes the blood curdle. Doctor Fewkes relates this experience as follows: "The Snake priests, who stood by the snake jars which were in the east corner of the room, began to take out the reptiles, and stood holding several of them in their hands behind Su-pe-la, so that my attention was distracted by them.Su-pe-la then prayed, and after a short interval two rattlesnakes were handed him, after which other venomous snakes were passed to the others, and each of the six priests who sat around the bowl held two rattlesnakes by the necks with their heads elevated above the bowl. A low noise from the rattles of the priests,

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text: Appletons' Cyclopædia of American Biography/Hadley, James


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 which shortly after was accompanied by a melodious hum by all present, then began. The priests who held the snakes beat time up and down above the liquid with the reptiles, which, although not vicious, wound their bodies around the arms of the holders. The song went on and frequently changed, growing louder and wilder, until it burst forth into a fierce, blood-curdling yell, or war-cry. At this moment the heads of the snakes were thrust several times into the liquid, so that even parts of their bodies were submerged, and were then drawn out, not having left the hands of the priests, and forcibly thrown across the room upon the sand mosaic, knocking down the crooks and other objects placed about it. As they fell on the sand picture three Snake priests stood in readiness, and while the reptiles squirmed about or coiled for defense, these men with their snake whips brushed them back and forth in the sand of the altar. The excitement which accompanied this ceremony cannot be adequately described. The low song, breaking into piercing shrieks, the red-stained singers, the snakes thrown by the chiefs, and the fierce attitudes of the reptiles as they landed on the sand mosaic, made it next to impossible to sit calmly down and quietly

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Rh Pater's work; and he makes the demand natural to it, not only implicitly by an unrelaxing use of such æsthetic and intellectual elements as appeal exclusively to the subtlest faculties of appreciation in their highest development, but explicitly also by the character of his hero. Marius, before he became an Epicurean, was moulded for his fate; his creator demanded an exceptional nature for the æsthetic ideal to react upon in a noble way, and so Marius was born in the upland farm among the fair mountains to the north of Pisa, and was possessed from boyhood of the devout seriousness, the mood of trustful waiting for the god's coming, which is exacted in all profound idealism. "Favete linguis!" With the lad Marius there was a devout effort to complete this impressive outward silence by that inward tacitness of mind esteemed so important by religious Romans in the performance of their sacred functions." Marius was born one of the choice natures in whom the heavenly powers are well pleased; and emphasis must be given to this circumstance because it follows that the ideal life which he lived, deeply meditated though it is, is really an individual one. Marius is not typical, nor even


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100 illustrative in any broad way of the practice of æsthetic morals; and yet, since he is not national, nor local, nor historic, in his essential self, since he is more than an enlightened philosopher, and yet less than the enlightened Christian, since his personality approaches the elect souls of other ages, other sentiments and devotions, and yet is without any real contact with them, he is typical and illustrative perhaps of something that might be. This confusedness of impression springs from the fact that Mr. Pater, while he imagines in Italy, always thinks in London; he has modernized his hero, has Anglicized him, indeed, and nevertheless has not really taken him out of the second century. It was a bold thing to attempt. It was necessary for his purposes as an evangelist of ideal living, and perhaps within the range of moral teaching it is successful; but the way in which it was done is a main point of interest.

A Roman Epicurean, one suspects, was not unlike the proverbial Italianated Englishman. The native incompatibility between the distinctive Roman temperament and the light-hearted gayety of Greek sensuousness was similiar to that between the


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Rh English and the Italian character in the later times; the perfection of Marius by means of a Greek ideal may run parallel with English culture under southern influences. There was, too, in Roman character a trait or two which brings it near to qualities that lie at the base of our own stock. Even in the Italian landscape there are Northern notes such as Mr. Pater mentions when Marius, in his walks to the coast, sees "the marsh with the dwarf roses and wild lavender, the abandoned boat, the ruined floodgates, the flock of wild birds." We are told, also, that "poetic souls in old Italy felt, hardly less strongly than the English, the pleasures of winter, of the hearth, with the very dead warm in its generous heat, keeping the young myrtles in flower, though the hail is beating hard without." This note of Marius's home-life and the love he had for it, with his particular regard for "Domiduca, the goddess who watches over one's safe coming home," and with the ideal of maternity that grew up in his memory of home,—this peculiarly English note is struck in the opening and is dominant at the end. Certain other characteristics ally this Etrurian boy with that nobler strain of


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 iii. 346, 347, 357, 410–13; Gillow's Dict. of English Catholics; Gent. Mag. 1866, pt. i. p. 451; Catholic Directory, 1890, p. 141.]

HOGENBERG, REMIGIUS (d. 1580?), engraver, is believed to have been a son of Hans Hogenberg, a Flemish painter, who died about 1544 at Mechlin, where Remigius was born. The year is not known. He came to England about 1573. There is in the British Museum a large view by him of the city of Münster, entitled ‘Westvaliæ Metropolis Monasteriũ,’ dated 1570, which he no doubt engraved while still abroad. After his arrival in England it is stated by Strype (Life and Acts of Matthew Parker, ed. 1821, ii. 524) that he entered the service of Archbishop Parker, who employed him and another engraver, named Richard Lyne, in constructing genealogies. One of these, bearing the double title ‘Linea Valesiorum’ and ‘Linea Angliæ,’ and containing the genealogy of the kings of England from the Conquest to the reign of Elizabeth, with the royal line of France, bore the subscription, ‘Remigius Hogenbergius, servus D. Matt. Archiep. Cant. sculpsit 1574.’ He also engraved from a portrait by Lyne a small portrait of Archbishop Parker, signed ‘R. Berg,’ with the date 1572, afterwards altered to 1573, which was thought by Vertue to be the first portrait engraved in England. It is extremely rare, and has been copied by Woodburn. Similar to it is a miniature, likewise by Hogenberg, in the original copy of the statutes of Corpus Christi College, Cambridge, which was etched by Michael Tyson, and a portrait of Thomas Brooke, Lord Cobham. Between 1575 and 1578 he engraved the maps of the counties of Kent (with Sussex, Surrey, and Middlesex), Wilts, Devon, Salop, Hereford, Lincoln and Nottingham, Lancaster, and Montgomery for Saxton's Atlas. Kramm mentions small portraits by him of Henry of Lorraine (Duke of Guise) and Gaspard de Coligny, executed somewhat in the style of De Gheyn, yet inferior to the works of that artist. He also engraved portraits of Henry IV, king of France, Charles, duke of Lorraine, Francis of Valois (Duke of Anjou and Alençon), and Erasmus. It is said that he died at Lambeth about 1580.

It has often been stated, but apparently in error, that (d. 1590), Remigius's elder brother, also came to England. The portrait of Queen Mary, dated 1555, which has been ascribed to him because of its bearing the initials ‘F. H.,’ was more probably the work of Frans Huys, an engraver who lived at Antwerp from about 1545 to 1570, and the maps of Gaul and Belgium, which are stated by Vertue to have been engraved by Franz Hogenberg for Saxton's Atlas, are not to be found in that series. Franz Hogenberg died at Cologne in 1590, and was interred in the protestant burial-ground of that city. Abraham and Johann Hogenberg, two later engravers of Cologne, were perhaps his sons.

HOGG, HENRY (1831–1874), poet, was born in Nottingham, where he practised as a solicitor until his death in 1874. He devoted himself to writing poetry from youth. His first poem, entitled ‘Mournful Recollections,’ was in blank verse, and appeared in 1849. In 1852 he published a volume of collected poems, and was classed among the worthies of Nottingham as ‘a young poet of genius’ in Wylie's ‘Old and New Nottingham’ (1853). He contributed a number of short poems to the ‘Christian Miscellany,’ and also wrote hymns and carols, which were very popular in the district. He set some of them to music. A later volume of poems was issued, but was subsequently withdrawn from circulation. His poems, though chiefly echoes of Tennyson, show taste and artistic skill.

HOGG, JAMES (1770–1835), the Ettrick Shepherd, was born at Ettrick, Selkirkshire, near the parish school, towards the end of 1770, the parish register recording his baptism on 9 Dec. of that year. He was wrong in his belief that his birthday, like Burns's, was 25 Jan., and the year 1772. He was the second of four sons born to Robert Hogg and Margaret Laidlaw, both of old border families. Owing to his father's failure in farming he received, according to his own account, less than a year's education in all, though in that time he was able to read the Bible and the catechism. At the age of seven he began to herd ewes. For several years, in the course of which he fell in love for the first time and learned to play on the violin, he progressed in his calling, till he was fully qualified, in his sixteenth year, to act as shepherd at Willanslee. He now added to his scanty knowledge an acquaintance with Allan Ramsay's


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 ‘Gentle Shepherd’ and Blind Harry's ‘Wallace,’ in Hamilton of Gilbertfield's version, regretting that they were not in prose or in the stanza of the metrical psalms.

From 1790 to 1800 Hogg was shepherd to Mr. Laidlaw of Blackhouse, on the Douglas Burn, Yarrow, having as companions the farmer's sons, of whom William Laidlaw [q. v.] became Scott's friend and the author of ‘Lucy's Flittin'.’ Hogg found books here that stimulated his intelligence, and the intercourse with his young friends was likewise valuable. He began to be known as ‘the poeter,’ having made songs, as he says in his ‘Autobiography,’ ‘for the lasses to sing in chorus.’ In 1793 he first saw the Perthshire highlands, having gone to Strathfillan with sheep, and he retained a lasting impression of their beauty. In 1796 he began with great difficulty to write his verses, his school training having merely introduced him to large text, and soon after Burns's death, in that year, hearing ‘a half daft man, Jock Scott by name,’ recite ‘Tam o' Shanter,’ and learning from the reciter that the poem was by the ‘sweetest poet that ever was born,’ whose place would never be filled, he conceived it possible that he might become Burns's successor as a Scottish singer. His first printed piece was the spirited patriotic song ‘Donald m'Donald,’ written in reference to Napoleon's project of invasion, and widely popular as soon as printed in 1800.

In this year, owing to his brother's marriage, Hogg settled at Ettrick, with his aged parents, to superintend their farm during the three remaining years of the lease. In 1801, while in Edinburgh with stock, he rashly collected his poetical pieces from memory, and they were roughly printed as ‘Scottish Pastorals, Poems, Songs, &c.’ In 1802 he made the acquaintance of Scott, who was in quest of further materials for his ‘Border Minstrelsy,’ of which two volumes had appeared. Both Hogg and his mother supplied him with ballads, the old lady being justifiably jealous of her rich store, and Hogg resolving to produce original material in the old style. When the lease of the farm expired in 1803, Hogg arranged with a neighbouring farmer to settle on a large sheep farm in Harris, writing in the prospect his ‘Farewell to Ettrick.’ The farm, however, turned out to be a disputed property, and possession was refused. Hogg, who lost much by this transaction, went to Mitchelstacks, Nithsdale, as a shepherd, and first met Allan Cunningham there. In 1807 Constable, through Scott's good offices, published for him his miscellaneous poems (the original ballads suggested by Scott's quest) under the title of ‘The Mountain Bard,’ and the proceeds of this and a treatise on diseases of sheep, published at the same time, amounted to about 300l., which he straightway lost in unsuccessful farming in Dumfriesshire. Failing to secure a commission in the militia, or a post in the excise, he returned a discredited bankrupt to Ettrick.

Finding himself shunned owing to his misfortunes, and seeing no prospect of occupation in his native district, Hogg determined to try a literary career, and in 1810 settled in Edinburgh. Here he received substantial help from various friends, especially Messrs. Grieve & Scott, hatters, Grieve being an Ettrick man, and an ardent admirer of Hogg. The first literary project was the publication in 1810 of ‘The Forest Minstrel,’ a miscellany of which he himself contributed about two-thirds—‘every ranting rhyme,’ he says, ‘that I had made in my youth’—the rest being furnished by Thomas M. Cunningham and other friends. The Countess of Dalkeith, to whom the work was dedicated, presented Hogg with one hundred guineas, which was all the money that came of the venture. In September 1810 he started ‘The Spy,’ a weekly critical journal, which deteriorated after its earlier numbers, and expired at the end of a year. Hogg now joined the Forum, an Edinburgh debating club, to which he attributed a considerable improvement in his literary style. As member of the club he composed several musical dramas and tragedies of no consequence. At Grieve's suggestion he wrote in 1813 his most picturesque and imaginative work, ‘The Queen's Wake,’ which was at once a great poetical if not financial success. In 1814 the third edition was published by John Blackwood. Hogg was thus brought into contact with Wilson and other literary men of Edinburgh, through whom he afterwards formed lifelong friendships with Wordsworth and Southey. He sent a copy of ‘The Queen's Wake’ to Byron, who recommended it to John Murray. Murray undertook the publication in England of that and other of Hogg's works, and from 1813 corresponded with the poet on very friendly terms, lending him money and entertaining him in London. In 1815 he published the ‘Pilgrims of the Sun,’ designed as the first of a series of ‘Midsummer Night Dreams’ (which he was not encouraged to continue), and in 1816 he issued ‘Madoc of the Moor,’ a poem in Spenserian stanza, embodying a slender narrative, but of fine descriptive quality, written two years before at Kinnaird House on the Tay, Perthshire. Neither produced much money; Hogg meditated a return to farming, and in an ingenious and charac-


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 teristic letter endeavoured to enlist the sympathies of the Duchess of Buccleuch, who had patronised him as Countess of Dalkeith. After the duchess's death, five months later, the duke, explaining that he was simply administering her bequest, gave Hogg, at a nominal rent, the farm of Eltrive Lake in Yarrow.

To obtain the funds necessary for settling in Eltrive Lake, Hogg suggested a volume of poems by distinguished living poets. The proposal was unfavourably received by the coadjutors he selected, Scott sharply retorting that ‘every herring should hing by its ain head.’ Thereupon Hogg produced clever parodies of Wordsworth, Byron, Southey, Coleridge, Wilson, Scott, and himself (Thomas Pringle supplying an epistle in the manner of the ‘Marmion’ introductions), publishing them, with an ingenious preface, in 1816 as ‘The Poetic Mirror, or the Living Bards of Great Britain.’ This work is marked by real poetic power and ingenious imitative faculty, though there is an occasional tendency towards burlesque (specially noticeable in the Wordsworth parodies). Hogg followed this with two volumes of unsuccessful dramatic tales, and then Scott, Blackwood, and other friends helped him to produce a handsomely illustrated edition of ‘The Queen's Wake,’ dedicated to the Princess Charlotte (1818). To increase his reputation Scott sent Gifford in 1818 an article on his poems for the ‘Quarterly Review,’ but it never appeared (, Murray, ii. 5). Nevertheless Hogg prospered at Eltrive, hospitably receiving numerous visitors attracted by his character and fame, and keeping up his connection with literary circles in Edinburgh. In 1817 he assisted at the inauguration of ‘Blackwood's Magazine,’ contributing the kernel of the fateful Chaldee MS. He claimed his due credit in connection with this notorious document, though he cautiously admitted that the young lions in Edinburgh ‘interlarded it with a good deal of devilry of their own.’

In 1817 Hogg began his prose tales with ‘The Brownie of Bodsbeck and other Tales,’ in two volumes. This was followed in 1819 and 1820 by the two volumes of ‘Jacobite Relics of Scotland,’ containing not only poems belonging to the period of the Stuart fall, but many of Hogg's own best lyrics, which are to this day favourite Jacobite songs. Likewise in 1820 he published ‘Winter Evening Tales,’ drawn from his early experience, and charged with vivid reminiscences of border character and manners. In this year also he married Margaret Phillips, daughter of Mr. Phillips of Langbridgemoor, Annandale; and he presently leased, in addition to Eltrive Lake, the neighbouring farm of Mount Benger, which proved a disastrous venture. In 1822 he published ‘The Three Perils of Man: War, Women, and Witchcraft.’ This he followed in 1823 with a work in three volumes, entitled ‘The Three Perils of Women,’ which, though of inferior quality, brought him some money. He produced in 1824 ‘Confessions of a Fanatic,’ weighted at first with the repelling title, ‘Confessions of a Justified Sinner.’ Strong and original, the work never became popular. In 1826 appeared his somewhat ambitious epic ‘Queen Hynde,’ which, though not without ingenuity and poetic beauty, was coldly received, and discouraged Hogg from attempting another long poem. By this time he was the recognised ideal ‘Shepherd’ in ‘Blackwood's Magazine,’ alternately pleased and offended with Wilson's exuberant delineation.

Meanwhile, being quit of Mount Benger, Hogg settled quietly at Eltrive, manfully wrestling with hosts of visitors (with whom he helped to give fame to St. Mary's Lake and the romantic hostel on it kept by Tibbie Shiels), and rejoicing in his growing family and his literary work. He contributed much under his own hand to ‘Blackwood,’ and he made a collection of these articles in his ‘Shepherd's Calendar’ in 1829. Blackwood this year also published a collection of about 140 of his songs, which proved successful. In 1832 Hogg visited London to arrange for a cheap reissue of his works. He was enthusiastically received, and was entertained at a public dinner, with Sir John Malcolm in the chair. After three months he returned, having engaged James Cochrane, Pall Mall, as publisher. Carlyle, observing these doings, characteristically remarks (Letters of Thomas Carlyle, ii. 10, ed. Norton): ‘It is supposed to be a trick of his Bookseller (a hungry shark on the verge of bankruptcy), who wishes to attract the Cockney population.’ When the first volume of ‘Altrive Tales’ had appeared Cochrane failed, and the enterprise ended. In 1833 Hogg was entertained at Peebles to a public dinner, presided over by Wilson, when he asserted that having long sought fame he had found it at last. He still wrote for periodicals, and in 1834 published a series of ‘Lay Sermons’ and ‘The Domestic Manners and Private Life of Sir Walter Scott;’ the latter deeply offended Lockhart, who viewed it as an intrusion upon his special domain. This year also Hogg prepared a fresh series of his stories, to be called ‘Montrose Tales,’ and Cochrane, who was again in business, published them early in 1835. They were popular and likely to be profitable, when, at the end of the year, Cochrane again became bankrupt.


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 , of which he became major and lieutenant-colonel in 1855; he retired from the army in 1859. In politics Hogg was a conservative, and sat as member for Bath from 1865 to 1868, and for Truro from 1871 to 1885. In 1885 and 1886 he was returned for the Hornsey division of Middlesex. In 1876 he succeeded his father as second baronet, and assumed, by royal license dated 8 Feb. 1887, the additional surname of McGarel on succeeding to the estates of Charles McGarel of Magheramorne, co. Antrim; in 1887 he was raised to the peerage as Baron Magheramorne.

Hogg was widely known from his connection with the metropolitan board of works, of which he became a member in 1867, and was chairman from 1870 until its abolition in 1889, when its place was taken by the London county council. Throughout this period Hogg was actively engaged in promoting schemes for the improvement of the metropolis, and personally identified himself with the construction of the Thames Embankment, Shaftesbury Avenue, and Charing Cross Road. In 1874, on the completion of the Chelsea Embankment, he was made a K.C.B. In 1887 some London ratepayers alleged that various members and officers of the board of works had fraudulently turned their official position to their own pecuniary advantage, chiefly in connection with the letting of building-sites in the new streets constructed by the board in central London. A royal commission was appointed in 1888 to inquire into the allegations, which affected almost the whole administration of the board. Hogg gave the commissioners every assistance and tendered valuable evidence. The report of the commissioners, which was issued in 1889, entirely absolved him and the majority of his colleagues of all blame beyond that of placing too much reliance on their subordinates. Magheramorne died on 27 June 1890.

He married, 31 Aug. 1857, Caroline Elizabeth Emma Douglas-Pennant, eldest daughter of Lord Penrhyn, and by her had five sons and one daughter.

 HOGG, JAMES WEIR (1790–1876), East India director, elder son of William Hogg of Belmont, co. Antrim, by Mary, daughter of James Dickey of Dunmore in that county, was born at Stoneyford, near Lisburn, on 7 Sept. 1790. He received his early education at Dr. Bruce's academy, Belfast, and was elected a scholar of Trinity College, Dublin, in 1808. There he gained the gold medal for oratory, among the unsuccessful competitors being Richard Lalor Sheil, and graduated B.A. in the spring of 1810 (, Dublin Graduates, p. 278). On 20 May 1811 he was admitted a student of Gray's Inn, London, ‘for the Irish bar,’ to which he is said to have been called, though no record of the fact is now to be found in the books of the King's Inns. He sailed for Calcutta, where his family had influence, in 1814, and practised at the bar there for eight years, obtaining an unprecedentedly large and lucrative business. In 1822 his health showed signs of failure owing to overwork, and he accepted the valuable office of registrar of the supreme court of Calcutta, a post which he held until 1833, when he returned to England with a large fortune (, Parliamentary Debates, 3rd ser. cxxxix. 1999). At the general election in January 1835 he was returned at the head of the poll for Beverley as a conservative and steadfast supporter of Sir Robert Peel, to whose fortunes he closely adhered throughout. He continued to represent Beverley till the dissolution in July 1847. Though he took no prominent part in the debates of the house except upon Indian matters, he seconded the motion (7 May 1841) on the sugar duties, which led to the defeat of the government (ib. lviii. 53). On 11 Sept. 1839 he was elected a director of the East India Company (Asiatic Journal, new ser. xxx. 166), and from that time forward was practically the representative of Leadenhall Street in the House of Commons. He was elected deputy-chairman of the company for 1845–6, 1850–1, and 1851–2, and chairman for 1846–7 and 1852–3 (, Madras Civilians, pp. xiii, xxii). In April 1844 W. B. Ferrand's accusation against Hogg and Sir J. Graham of corruption in connection with the Nottingham election petition was declared to be ‘wholly unfounded and calumnious’ (House of Commons' Journals, 1844, p. 239). Hogg, who supported Peel in his free-trade policy, declined, towards the close of 1845, the post of judge advocate-general upon the resignation of Dr. John Nicholl, on the ground that he held the office of deputy-chairman of the East India Company (Parl. Debates, 3rd ser., cxxix. 79). Upon the downfall of the ministry he was created a baronet (20 July 1846). At the general election in July 1847 he was returned unopposed for Honiton, which he continued to represent until the dissolution in March 1857. In his capacity as the recognised representative of the India House, Hogg was frequently attacked by Sir Charles Napier, John Bright, and others, who disapproved of


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 the policy of the directors. A violent attack on him by Napier with reference to the Scinde prize money appeared in the ‘Times,’ 21–8 Oct. 1848. Hogg was offered, but declined, the post of governor of Bombay in succession to Lord Falkland in 1853. He voted against the government on the motion censuring Palmerston's Chinese policy, 3 March 1857 (ib. cxliv. 1847), and at the general election in the same month lost his seat by two votes. He made no attempt to re-enter parliament, but upon the passing of the Government of India Act he was nominated by the East India board as one of the seven directors to sit on the new Indian council (September 1858). He continued a member of the Indian council (acting as vice-president in 1860) till the beginning of 1872, when he retired, and was sworn a member of the privy council, 5 Feb. 1872. He died of paralysis at his residence, 11 Grosvenor Crescent, London, 27 May 1876, and was buried in Kensal Green Cemetery.

Hogg married, 26 July 1822, Mary Claudina, second daughter of Samuel Swinton, B.C.S., of Swinton, Berwickshire, by whom he had seven sons and seven daughters. His wife died 26 June 1874. He was succeeded in the baronetcy by his eldest son, Lieutenant-colonel Sir James Macnaghten McGarel Hogg, afterwards first lord Magheramorne [q. v.] Hogg published his ‘Addresses … to the Students at the East-India College at Haileybury, and to the Cadets at the Military Seminary at Addiscombe, on the Closing of the Half-yearly Terms, 1846’ [London, 1846], 8vo.

 HOGG, JOHN (1800–1869), classical scholar and naturalist, born in 1800, was second son of John Hogg, and brother of Thomas Jefferson Hogg [q. v.] After passing through Durham grammar school, he entered Peterhouse, Cambridge, as a pensioner in 1818, was chosen Ramsay scholar in 1820, and graduated B.A. in 1822 as junior optime. In 1827 he proceeded M.A., and was elected bye fellow of his college on Lady Ramsay's foundation (Cambr. Univ. Calendars); on 8 Feb. 1844 he proceeded M.A. ad eundem at Oxford. On 21 Nov. 1828 he was admitted of the Inner Temple, was called to the bar on 27 Jan. 1832 (Inner Temple Register), and chose the northern circuit; he was also a J.P. and D.L. for the county of Durham. He died at Norton House on 16 Sept. 1869 (Stockton Herald, 24 Sept. 1869). He married Anne Louisa Sarah (d. 1864), second daughter of Major Goldfinch of the Priory, Chewton Mendip, Somerset (Gent. Mag. 3rd ser. xvii. 802), by whom he left a son and two daughters (, County Families, 1889, p. 524).

Hogg was kind-hearted and popular, though somewhat wanting in practical common sense. He was an excellent classical scholar, antiquary and geographer, and well read in modern languages. His acquirements as a botanist and naturalist were considerable. He travelled frequently, and contributed to the ‘Metropolitan Magazine’ some pleasantly written ‘Letters from Abroad to a Friend at Cambridge,’ reprinted separately in 1844. He wrote articles in ‘Annals of Natural History,’ the ‘Transactions and Proceedings’ of the Linnean Society, ‘Hooker's Botanical Journal,’ the ‘Museum of Classical Antiquities,’ ‘Edinburgh New Philosophical Journal,’ and the ‘Magazine of Natural History.’ To the ‘Transactions’ of the Royal Society of Literature, of which he became a member in 1843 and foreign secretary and vice-president in 1866, he contributed numerous papers, many of which were reissued singly. He was elected F.L.S. in 1823, and F.R.S. on 20 June 1839, and was also fellow of the Cambridge Philosophical Society, fellow and secretary (1849–50) of the Royal Geographical Society, fellow of the Royal Society of Northern Antiquities of Copenhagen, and president of the Tyneside Naturalists' Field Club. He read memoirs at many meetings of the British Association. Besides the papers already alluded to Hogg published: 1. ‘A Catalogue of Sicilian Plants, with some Remarks on the Geography, Geology, and Vegetation of Sicily,’ 8vo, London, 1842. 2. ‘A Catalogue of Birds observed in South-Eastern Durham and in North-Western Cleveland; with an Appendix containing the Classification and Nomenclature of all the Species included therein. From the Zoologist,’ 8vo, London, 1845. 3. ‘On the Distribution of certain Species of Fresh-water Fish, and on the Modes of Fecundating the Ova of the Salmonidæ. Read before the Tyneside Naturalists' Field Club,’ 8vo, Newcastle-upon-Tyne, 1856. 4. ‘Address to the Members of the Tyneside Naturalists' Field Club,’ 8vo, Newcastle-upon-Tyne, 1857. In his various studies Hogg found a ready helper in his elder brother, Thomas Jefferson Hogg [q. v.], of whom he contributed a sympathetic memoir to the ‘Gentleman's Magazine,’ 3rd ser. xiii. 643.


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HOGG, THOMAS JEFFERSON (1792–1862), friend and biographer of Shelley, eldest son of John Hogg of Norton House, Stockton-on-Tees, Durham, by Prudentia, eldest daughter of the Rev. Watkin Jones, was born at Norton 24 May 1792. His grandfather had made a fortune as agent to the dean and chapter of Durham. He received his education at Durham grammar school, and in January 1810 proceeded to University College, Oxford, where in the following October he made the acquaintance of Shelley. Two men more dissimilar in most respects could hardly have been found; their bond of union was a passion for uncontrolled speculation and an utter distaste for the ordinary pursuits and general society of Oxford. At the beginning of 1811 they jointly produced a pamphlet of burlesque poetry, humorously attributed to Margaret Nicholson, a mad washerwoman, who had attempted to stab George III—a jeu-d'esprit now among the rarest prizes of Shelley collectors, and which, according to Hogg, was taken seriously by many undergraduates. ‘Leonora,’ a fiction jointly written by the two friends, is said to have been partly in type when, in March 1811, Shelley's syllabus on the ‘Necessity of Atheism’ occasioned his expulsion from the university. Hogg generously addressed a remonstrance to the authorities, who summoned him before them, and on his refusing to disclaim all participation in the pamphlet visited him with the like sentence. The proceeding was harsh, but the eccentric behaviour of the two young men must have long made them objects of suspicion. Hogg was now placed with a conveyancer at York, and remained there, ‘leading a studious and quiet life,’ until in September Shelley, accompanied by his young wife, flashed through the city at midnight in the Scottish mail, leaving a note which brought Hogg after him to Edinburgh. After spending some time at Edinburgh all three travellers returned to York. In October 1811 Shelley departed on a short visit to London, and for a year afterwards there is no extant trace of communication between him and Hogg, the fact being that Hogg's behaviour to Harriet in Shelley's absence had obliged the latter to renounce his acquaintance (Shelley's letter to Miss Hitchener, 14 Nov. 1811, quoted in, Life of Shelley, i. 192). There can be little doubt that the production printed in Hogg's ‘Life of Shelley’ (ii. 490–7) as ‘a fragment of a novel’ is in fact a letter of remonstrance addressed by Shelley to himself. In October 1813, however, friendly relations were resumed upon the arrival of the Shelleys in London, whither Hogg had removed from York to continue the study of the law. In the following April Hogg undertook an expedition after Shelley into Ireland, where he failed to find him. Some little time previous he had produced a novel, ‘Memoirs of Prince Alexy Haimatoff’ (1813), gravely stated on the title-page to be ‘translated from the original Latin MS. under the immediate inspection of the Prince by John Brown, esq.’ Shelley wrote an enthusiastic notice of this curious production in the ‘Critical Review’ for December 1814, sagaciously traced to him by Professor Dowden. The book could neither have attracted nor deserved attention while it remained anonymous, but at the present day the identification of the imaginary Haimatoff with the real Hogg is a source of no inconsiderable amusement. Some features in the portrait of Haimatoff are plainly taken from Shelley, and the venerable pedagogue Gotha seems to have been suggested by Shelley's account of Dr. Lind. After Shelley's return from the continent in 1814 his relations with Hogg reassumed much of their former intimacy; the two seem to have been nearly as much together as Hogg's enforced residence in the Temple allowed, and his correspondence with his friend depicts him as about equally divided between studying law and ‘Scapulizing Euripides.’ He was a zealous Hellenist, and so continued all his life. He was called to the bar at the Michaelmas term of 1817, and went the circuit in Northumberland and Durham, where he obtained some practice, but his reserved manner and lack of fluency were not conducive to forensic success. In 1822 he contributed to the ‘Liberal’ an essay on Apuleius, written some time previously for an abortive magazine projected by Leigh Hunt. In 1823 his quiet existence was perturbed by his passion for Jane Williams, widow of the Edward Williams who had perished along with Shelley. After considerable delay his suit was accepted on condition that he should qualify himself by a course of foreign travel. He accordingly left England for a tour in Germany and Italy on 3 Aug. 1825, returning on 27 Feb. following, ‘having thus actually completed two hundred and nine days without having once had recourse to any one of three things, each of which daily habit had taught me to consider a prime necessary of life—law, Greek, or an English newspaper.’ The journal of his tour was published in 1827 under the title of ‘Two Hundred and Nine Days,’ a record of trivial occurrences, sea-


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  by the strong personality of the writer. It is dedicated to Brougham, who had undertaken to procure him a professorship at the new university of London, but the office was not established for want of funds. An intended but unspoken inaugural lecture was published in 1831. Hogg meanwhile united himself with Mrs. Williams and joined the circle grouped around the younger Mill, with whom he quarrelled for some unexplained reason. Peacock and Coulson were among his chief intimates; and Mary Shelley endeavoured to persuade Peacock to procure him an appointment at the India House, from which his breach with Mill would have excluded him, even had he not been entirely unfitted for such employment. In 1832 his reminiscences of Shelley at Oxford, subsequently incorporated with his biography of the poet, appeared in the ‘New Monthly Magazine,’ under Bulwer's auspices. In the following year Brougham made him a municipal corporation commissioner, and, after the expiration of the commission, he was appointed revising barrister for Northumberland and Berwick. In 1840 and 1841 several chapters of a nondescript performance entitled ‘Some Recollections of Childhood,’ and defined by the author as a novel, appeared in Bulwer's ‘Monthly Chronicle,’ so mercilessly ridiculed by Thackeray. In 1844 Hogg inherited 2,000l. under Shelley's will, and about 1855, furnished with documents by the Shelley family, he undertook the task of writing the poet's life, for which Mary Shelley had always declared him the only qualified person. The first two volumes, bringing Shelley's history down to the eve of his elopement with Mary Godwin, appeared in 1858, and were at first received with almost universal disfavour. The remarkable merit of his article on Shelley at Oxford, where Hogg's tendency to irrelevance and extravagance had been controlled by Bulwer's ‘able editorship,’ had raised excessive expectations. Instead of the anticipated model memoir appeared two thick volumes of inconsecutive rodomontade, rather autobiography than biography, with no sign of real insight into Shelley's works or character. It was also soon discovered that Hogg had taken most unwarrantable liberties with his materials. When the writer was at last accepted as an eccentric humorist, disburdening himself of anecdotes, reminiscences, and views on things in general, relevant and irrelevant, it became clear that the book was remarkable and probably unique. Hogg possessed one great qualification of the biographer—the art of conveying a vivid impression of persons and things. Clough said on the appearance of the book: ‘It is a great pleasure to see Shelley really alive and treading the vulgar earth—Hogg's transparent absurdity being the only intervening impediment.’ Shelley's representatives, however, fearing that the prosecution of the work would result in stereotyping a caricature not only of Shelley but of Mary Shelley, withdrew the materials on which Hogg had depended for continuing it. Whether it was nevertheless continued is not known; no sequel has hitherto been published. Hogg died on 27 Aug. 1862. In addition to the writings mentioned above, he contributed the articles ‘Alphabets’ and ‘Antiquities’ to the eighth edition of the ‘Encyclopædia Britannica,’ and several essays to the ‘Edinburgh Review.’

HOGGARDE, MILES (fl. 1557). [See .]

HOLBEACH or RANDS, HENRY (d. 1551), bishop of Lincoln, was a native of Holbeach, Lincolnshire. His surname was properly Rands, but on becoming a monk of Crowland he assumed the name of his birthplace. He entered Cambridge presumably as a student of the Benedictine house called Buckingham College, where, having taken the B.D. degree in 1527, and commenced D.D. in 1534, he became prior in 1535. By the king's command he was chosen prior of Worcester on 13 March 1536; his election, which was not according to custom, but by way of compromission, was confirmed on the 22nd. On 24 March 1538 he was consecrated suffragan, with the title of Bristol, to the see of Worcester, of which Latimer was bishop. He held the priory together with his new office. In October he assisted Latimer in testing the relic called the ‘blood of Hales.’ On the surrender of the priory of Worcester on 18 Jan. 1540 he was made the first dean of the cathedral church, being also the king's almoner; he resigned the deanery on being translated to the see of Rochester in June 1544, but held in commendam the rectory of Bromsgrove with the chapelry of King's Norton, Worcestershire, which had formerly belonged to the priory. In 1545 he was appointed a commissioner to assess the revenue of Eastbridge Hospital, Canterbury, and in February 1547 he attended the funeral of Henry VIII. He was in the same year translated to the see of Lincoln, being elected on 9 Aug., and receiving the temporalities on the 16th, and confirmation on the 20th. He conveyed to


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 the crown twenty-six or, according to Strype, thirty-four rich manors belonging to his see, though ‘not by his fault.’ In 1548 he was appointed with others to draw up the Book of Common Prayer, and is said to have done good service. He also served on a commission to consider the question of the remarriage of the innocent party in a divorce, with reference to the case of the Marquis of Northampton. John Hooper [q. v.], afterwards bishop of Worcester, had a high opinion of him; his opinions may be inferred from a letter in which Hooper tells Bullinger that he thoroughly comprehended the doctrine of Christ about the Lord's Supper, adding, however, that he and other bishops were held back from reformation by the fear of losing their property. He was one of the king's visitors for Oxford in 1549, and assisted at the disputation held there in May [see under ], and was appointed on the commissions for the trial of Bishop Gardiner and for the correction of anabaptists and irregular ministers of the sacraments in 1550. In July 1551 he received the young Duke of Suffolk and his brother [see under ] at his house at Buckden, Huntingdonshire. He died on 2 Aug. 1551 at Nettleham, Lincolnshire, and was buried there. He was married, his wife Joan proving his will on 5 Oct., and left a son named Thomas.

HOLBEIN, HANS (1497–1543), painter, born at Augsburg in Swabia in 1497, was the younger son of Hans Holbein, a painter of that town, and grandson of Michel Holbein, who some time before 1454 came from the neighbouring village of Schönenfeld to settle in Augsburg. The name of Holbein's mother has not been ascertained. His father was a painter of great merit, and has left many pictures and drawings; in some cases his work has been with difficulty distinguished from that of his son. The latter and his elder brother Ambrosius were no doubt educated as painters in Augsburg by their father, and perhaps under their uncle Sigmund, also a painter there. In the elder Holbein's picture of the ‘Basilica of St. Paul’ (in the Augsburg Gallery), a group of an elderly man and two boys has been conjectured to represent the father and his two sons, and a silver-point drawing by the father (in the print room at Berlin) gives a portrait of the two brothers in 1511, Hans Holbein the younger being then fourteen. Only one unimportant picture by the younger Holbein, a Madonna dated 1514, can be regarded as authentic among the pictures now preserved at Augsburg. He has been credited, however, with a share in the splendid ‘St. Sebastian’ altarpiece by the elder Holbein (in the Munich Gallery). In or before 1515 the Holbein family left Augsburg. It seems probable that the father removed with his family to Lucerne, where he found a patron in the chief magistrate, Jacob von Hertenstein, but the sons soon appear as resident in Basle. Basle was the centre of the humanist revival in literature, and from its printing-presses the humanists' principal works were issued. Johann Froben, the chief printer of Basle, was the first to draw on classical antiquity for illustrations and title-pages to his books. The third title-page of this description printed by him, that to Leo X's ‘Breve ad Erasmum,’ 1515, is the first one known to have been designed by Hans Holbein for engraving on wood or metal. Others by him or Ambrosius appear in the works of Froben's press during the next few years. The corrector for Froben's press was Beatus Rhenanus, to whom the employment of Holbein was possibly due. Curious relics of Holbein's work at this time are preserved in the Zürich Library in a painted allegorical table, done for the wedding of Hans Bär in Basle, on 24 June 1515, and in the so-called ‘Schulmeisterbild’ in the museum at Basle. For another distinguished humanist scholar and reformer at Basle, Oswald Molitor or Myconius of Lucerne, Holbein drew a series of marginal illustrations, or pictorial glosses, in a copy of Erasmus's ‘Encomium Moriæ,’ published by Froben in 1515; these drawings were done under Myconius's supervision, and probably in his house, and were finished on 29 Dec. 1515. A manuscript note by Myconius states that Erasmus derived much entertainment from them. The book is now in the museum at Basle. Holbein at this time also showed signs of his pre-eminence as a portrait-painter. In 1516 he painted the two portraits of the burgomaster Jacob Meyer ‘zum Hasen’ and his wife (in the museum at Basle), and the portrait of the painter Hans Herbster (in the Earl of Northbrook's collection). In 1517 he was resident in Lucerne, where he (or his father) was elected into the guild of St. Luke there. On 10 Dec. 1517 he was fined for a brawl, and seems to have quitted Lucerne for a time. He is supposed to have gone to


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 Italy, and appears to have painted pictures at Altorf; the Italian influence, however, detected in his pictures may be easily traced to the study of engravings. In 1518 he was back in Lucerne and engaged in painting the inside and outside of Jacob von Hertenstein's new house. This house with Holbein's paintings was standing till 1824, when it was destroyed for local improvements; hasty copies of the paintings were made at that time, and are preserved in the town library at Lucerne. Holbein painted a ‘Passion’ series for the Franciscan convent, made designs for banners, glass windows, and was employed on other local services in Lucerne. In 1519 he was back in Basle, and on 25 Sept. was admitted into the guild ‘zum Himmel,’ composed of barbers, surgeons, and painters. In October of that year he painted the beautiful portrait of Bonifacius Amerbach, another eminent humanist (in the museum at Basle). On 3 July 1520 he paid the fees for burgher's rights at Basle. He received many commissions for designs for glass windows, and painted the outside of many houses, such as the ‘Haus zum Tanz,’ some drawings for which are preserved in the museum at Basle. He was soon employed on a more important task, perhaps under the direction of Rhenanus, namely, to paint large mural paintings, with scenes chosen from classical history, in the town hall at Basle. Holbein commenced there in June 1521, but in November 1522 the series was broken off. In most of the paintings mentioned Holbein showed a great sense of humour and skill in treating secular or domestic subjects. He executed, however, some important religious works, such as ‘The Last Supper,’ the eight ‘Passion’ pictures, ‘The Dead Christ,’ and other pictures in the museum at Basle; ‘The Nativity’ and ‘The Adoration of the Magi’ at Freiburg-im-Breisgau, ‘St. Ursula and St. George’ at Karlsruhe, the great ‘Madonna and Saints’ at Solothurn, and the still greater ‘Madonna with the Meyer family’ in the picture gallery at Darmstadt. This picture was painted about 1526 for Holbein's patron, the ex-burgomaster Jacob Meyer ‘zum Hasen.’ The famous picture of the same subject in the Dresden Gallery is now universally acknowledged to be an excellent and possibly contemporary copy, though not a replica, of the picture at Darmstadt. Two portraits of Dorothea Offenburg (in the museum at Basle), as ‘Venus’ and as ‘Lais Corinthiaca,’ of a rather different character from the others, belong to this period.

In 1522 Luther's translation of the New Testament into German was published, with woodcut illustrations, at Wittenberg. Numerous reprints quickly followed, and the Basle printers were in the front. At Christmas 1522 Adam Petri published a reprint with a title-page and eight illustrations designed by Holbein, and the edition was frequently reissued. In 1523 Thomas Wolff published another reprint with twenty-one designs to illustrate the ‘Apocalypse’ by Holbein. These designs and others were cut on the block by Hans Lützelberger, who came to Basle at the time for the purpose. The blocks for the ‘Apocalypse’ eventually came into the possession of Christoph Froschauer at Zürich, and were used for Tyndale's English translation, published in 1536. Luther's German translation of the ‘Pentateuch,’ published at Wittenberg in 1523, was reprinted in the same year at Basle by Thomas Wolff, with a title-page and eleven illustrations by Holbein and Lützelberger. Adam Petri, in a later edition of Luther's ‘Pentateuch’ (1524), printed six new illustrations by the same artists. In all these designs Holbein drew freely from the Wittenberg illustrations as originals. About 1523 the brothers Trechsel, printers at Lyons, planned a new series of illustrations to the ‘Vulgate Old Testament.’ They employed Lützelberger as cutter and Holbein as designer of the blocks. These were about ninety in number, and the designs were freely adapted from the preceding series. Before, however, the series was complete, Lützelberger died in 1526; the blocks passed into the hands of Trechsel, and were not published for several years.

A similar fate attended the famous series illustrating ‘The Dance of Death,’ designed by Holbein and cut by Lützelberger between 1523 and 1526. These designs reveal Holbein as one of the leading agents in the spread of the reformed doctrines, to which the humanist culture of the Basle scholars had given notable impetus. The chief of these, Erasmus, may be ranked among Holbein's patrons, though they were not necessarily on such intimate terms as has been supposed. He employed Holbein to paint his portrait in 1523 at least three times; two he sent to England (one now at Longford Castle, and the other in the Louvre at Paris), and the third he sent to Bonifacius Amerbach at Avignon, probably conveyed by the painter himself during a professional visit to the printers at Lyons. Holbein and his brother Ambrosius had also provided designs to illustrate not only the works of Erasmus himself, but also those of his friend and correspondent in England, Sir Thomas More. Holbein about 1520 married a widow, Elsbeth Schmid, with a son, and had a family of his own. In 1526, after Lützelberger's death, and from the general


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 III. (1) Convention of Defensive Alliance between Great Britain and Turkey, signed June 4, 1878.

Her Majesty the Queen of the United Kingdom of Great Britain and Ireland, Empress of India, and His Imperial Majesty the Sultan, being mutually animated with the sincere desire of extending and strengthening the relations of friendship happily existing between their two Empires, have resolved upon the conclusion of a Convention of defensive alliance with the object of securing for the future the territories in Asia of His Imperial Majesty the Sultan.

Their Majesties have accordingly chosen and named as their Plenipotentiaries, that is to say : —

Her Majesty the Queen of the United Kingdom of Great Britain and Ireland, Empress of India, the Right Honourable Austen Henry Layard, Her Majesty's Ambassador Extraordinary and Minister Plenipotentiary at the Sublime Porte ;

And His Imperial Majesty the Sultan, his Excellency Safvet Pasha, Minister for Foreign Affairs of His Imperial Majesty;

Who, after having exchanged their full powers, found in due and good form, have agreed upon the following Articles : —

I. If Batoum, Ardahan, Kars, or any of them shall be retained by Russia, and if any attempt shall be made at any future time by Russia to take possession of any further territories of His Imperial Majesty the Sultan in Asia, as fixed by the Definitive Treaty of Peace, England engages to join His Imperial Majesty the Sultan in defending them by force of arms.

In return, His Imperial Majesty the Sultan promises to England to introduce necessary reforms, to be agreed upon later between the two Powers, into the government, and for the protection, of the Christian and other subjects of the Porte in these territories ; and in order to enable England to make necessary provision for executing her engagement, His Imperial Majesty the Sultan further consents to assign the Island of Cyprus to be occupied and administered by England.

II. The present Convention shall be ratified, and the ratifications thereof shall be exchanged, within the space of one month, or sooner if possible.


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 In witness whereof the respective Plenipotentiaries have signed the same, and have affixed thereto the seal of their arms.

Done at Constantinople, the fourth day of June, in the year one thousand eight hundred and seventy-eight.

A. H. LAYARD.

SAFVET.

(2)

Annexe to the Convention of Defensive Alliance between Great Britain and Turkey signed June 4, 1878, signed July 1, 1878.

The Right Honourable Sir A. H. Layard, G.C.B., and his Highness Safvet Pasha, now the grand Vizier of His Majesty the Sultan, have agreed to the following Annexe to the Convention signed by them as Plenipotentiaries of their respective Governments on the 4th June, 1878:—

It is understood between the two High Contracting Parties that England agrees to the following conditions relating to her occupation and administration of the Island of Cyprus:—

I. That a Mussulman religious Tribunal (Mehkéméi Shéri) shall continue to exist in the island, which will take exclusive cognizance of religious matters, and of no others, concerning the Mussulman population of the island.

II. That a Mussulman resident in the Island shall be named by the Board of Pious Foundations in Turkey (Evkraf) to superintend, in conjunction with a Delegate to be appointed by the British Authorities, the administration of the property, funds, and lands belonging to mosques, cemeteries, Mussulman schools, and other religious establishments existing in Cyprus.

III. That England will pay to the Porte whatever is the present excess of revenue over expenditure in the island; this excess to be calculated upon and determined by the average of the last five years, stated to be 22,936 purses, to be duly verified hereafter, and to the exclusion of the produce of State and Crown lands let or sold during that period.

IV. That the Sublime Porte may freely sell and lease lands and other property in Cyprus belonging to the Ottoman Crown and State (Arazii Miriyé vé Emlaki Houmayoun) the produce of which does not form part of the revenue of the island referred to in Article III.

V. That the English Government, through their competent authorities, may purchase compulsorily, at a fair price, land required for public improvements, or for other public purposes, and land which is not cultivated.


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 VI. That if Russia restores to Turkey Kars and the other conquests made by her in Armenia during the last war, the Island of Cyprus will be evacuated by England, and the Convention of the 4th of June, 1878, will be at an end.

Done at Constantinople, the 1st day of July, 1878.

IV.

Gouvernements d'Autriche-Hongrie et de Turquie s'étant réservé de s'entendre sur les détails de l'occupation stipulée par l'article XXV du Traité de Berlin, et le fait de l'occupation de la Bosnie et de l'Herzégovine ne portant pas atteinte aux droits de Souveraineté de Sa Majesté Impériale le Sultan sur ces provinces, les deux Grouvernements ont nommé pour leurs Plénipotentiaires:

L'Autriche-Hongrie, d'une part. Son Excellence M. le Comte F. Zichy, &c.

et la Turquie, de l'autre, Son Excellence Al. Carathéodory Pacha, &c., et Son Excellence Munif Efendi, &c.

lesquels, après avoir échangé leurs pleins pouvoirs trouvés en bonne et due forme, sont convenus des articles suivants:

I. L'administration de la Bosnie et de l'Herzégovine sera exercée conformément à l'article XXV du Traité de Berlin par l'Autriche-Hongrie; toutefois, le Gouvernement austro-hongrois n'objecte pas à conserver tous ceux des fonctionnaires actuels qui posséderaient les aptitudes nécessaires pour la bonne administration de leur emploi. En cas de remplacement, le choix du Gouvernement austro-hongrois porterait de préférence sur les personnes originaires de ces provinces.

II. La liberté et la pratique extérieure de tous les cultes existants seront assurées aux personnes habitant ou séjournant en Bosnie et en Herzégovine. Notamment pleine liberté est assurée aux musulmans dans leurs rapports avec leurs chefs spirituels. Les Commandants des troupes de Sa Majesté l'Empereur et Roi et les autorités administratives continueront à veiller avec le plus grand soin à ce qu'il ne soit porté aucune atteinte à l'honneur, aux mœurs, à la liberté du culte, à la sécurité des personnes et des propriétés des musulmans.


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 Toute agression contre des musulmans, leurs biens ou leur religion sera sévèrement punie.

Le nom de Sa Majesté le Sultan continuera à être prononce dans les prières publiques des musulmans comme par le passé. En tant qu'il serait d'usage de hisser le drapeau ottoman sur les minarets, cet usage sera respecté.

III. Les revenus de la Bosnie et de l'Herzégovine seront affectés exclusivement à leurs besoins, leur administration et les améliorations jugées nécessaires.

IV. Les monnaies ottomanes effectives continueront à avoir libre cours en Bosnie et en Herzégovine.

V. La Sublime Porte disposera à sa guise des armes, du matériel de guerre et autres objets appartenant au Gouvernement ottoman et qui se trouvaient dans les places fortes ou dans les garnisons.

À cet effet, il sera dressé des inventaires avec l'intervention de Commissaires des deux Gouvernements.

VI. La question du traitement des habitants de la Bosnie et de l'Herzégovine séjoumant ou voyageant hors de ces provinces sera réglée ultérieurement par un arrangement spécial.

VII. Pour atteindre dans un intérêt commun le but politique et militaire que l'article XXV du Traité de Berlin concernant le sandjak de Novi-Bazar a en vue, les deux Gouvernements ont résolu de régler dès à présent les modalités dans lesquelles il sera procédé à son exécution.

À cet effet, le Gouvernement de Sa Majesté l'Empereur et Roi s'engage à donner avis préalable au Gouvernement de Sa Majesté le Sultan de l'époque où l'entrée des troupes Impériales et Royales devra s'effectuer.

Afin de prévenir tout délai inutile, les deux Gouvernments s'engagent dès aujourd'hui, chacun en ce qui le concerne, à munir, le cas échéant, sans retard, leurs Autorités et Commandants respectifs des pleins pouvoirs nécessaires pour régler directement entre eux les questions se rattachant à la subsistance des troupes Impériales et Royales ainsi qu'à leur installation et autres détails y relatifs.

Il est d'ailleurs entendu que tous les frais occasionnés de ce chef resteront à la charge du Gouvernement d'Autriche-Hongrie.

VIII. La présence des troupes de Sa Majesté l'Empereur et Roi dans le sandjak de Novi-Bazar ne portera aucune entrave au fonctionnement des autorités administratives, judiciaires ou financières ottomanes de tout ordre, qui continuera à s'exercer comme par le passé sous les ordres exclusifs et directs de la Sublime Porte.

IX. Si la Sublime Porte désire maintenir des troupes régulières même sur les points du sandjak de Novi-Bazar où les troupes


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 austro-hongroises tiendront garnison, aucun obstacle n'y sera apporté.

Les troupes des deux États seront placées sur un pied de parfaite égalité en ce qui concerne leur nombre, les avantages militaires et la liberté de leurs mouvements.

Dans toute l'étendue du sandjak de Novi-Bazar, la Sublime Porte s'engage à ne pas maintenir de troupes irrégulières, X. Il est entendu toutefois que la faculté pour l'Autriche-Hongrie d'entretenir sur les endroits où les troupes doivent tenir garnison, conformément aux dispositions de l'article VII, des troupes en nombre suffisant, selon le besoin des circonstances, ne doit pas être restreinte par ces dispositions.

En foi de quoi les Plénipotentiaires d'Autriche-Hongrie et de Turquie ont signé la présente Convention et y ont apposé le sceau de leurs armes.

Fait à Constantinople, le vingt et un avril mil huit cent soixante-dix-neuf.

ZICHY.

AL. CARATHÉODORY.

MUNIF.

Annexe à la Convention.

Il est entendu que dans les circonstances actuelles, le Gouvernement d'Autriche-Hongrie, tout en se réservant tous ses droits découlant de l'article XXV du Traité de Berlin, n'a l'intention de placer des garnisons que sur trois points situés sur le Lim entre les frontières de la Serbie et du Monténégro. Ces points seraient Priboï, Priépoliyé et Biélopoliyé. Le nombre des troupes destinées actuellement au service de ces garnisons ne dépassera pas le chiffre de quatre à cinq mille hommes. Si, par suite des circonstances, la nécessité se présentait de placer des garnisons sur d'autres points, il sera procédé de part et d'autre dans les sens des dispositions de l'article VII, sauf si le Gouvernement autrichien avait l'intention de placer des troupes sur des points du Balkan de Ragosna, auquel cas il y aura lieu de s'entendre directement avec la Sublime Porte.

Constantinople, le vingt et un avril mil huit cent soixante-dix-neuf.

ZICHY.

AL. CARATHÉODORY.

MUNIF.


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 paralysis of art due to the spread of the new doctrines and to the dissensions which they caused, Holbein found his profession an unprofitable one at Basle, and determined on carrying out a previously conceived plan of visiting England in the hope of making a fortune there. Erasmus provided him with an introduction to Sir Thomas More, and sent him by way of Antwerp with a letter to Petrus Ægidius, and a further introduction to the painter Quentin Matsys, who had painted the double portrait of Erasmus and Ægidius, previously sent by Erasmus as a present to Sir Thomas More. A fine drawing of a ship (in the Städel Institut at Frankfurt) is supposed to be a record of Holbein's journey on this occasion.

Holbein arrived in England in the eighteenth year of the reign of Henry VIII (1526–7). Sir Thomas More was then chancellor of the exchequer, and Warham, another correspondent of Erasmus, was archbishop of Canterbury. Through them Holbein obtained easy access to the leading men of the court. Portraiture was the only form of art open to him, and he made worthy use of it. He painted Sir Thomas More [q. v.] in 1527 (in Mr. Huth's collection, drawing at Windsor), Archbishop Warham [q. v.] (at Lambeth Palace, and another in the Louvre, drawing at Windsor), John Fisher [q. v.], bishop of Rochester (no original known, drawings at Windsor and in the print room, British Museum), Sir Henry Guildford [q. v.] (picture and drawing at Windsor), Lady Guildford (in Mr. Frewen's collection), Thomas and John Godsalve (at Dresden, coloured drawing of Sir John Godsalve [q. v.] at Windsor), Sir Bryan Tuke [q. v.] (at Munich, and another at Grosvenor House), Nicholas Kratzer [q. v.] the astronomer (in the Louvre), Sir Henry Wyat [q. v.] (in the Louvre), and others, including Sir Thomas Elyot [q. v.] and Lady Elyot (drawings at Windsor), whose portraits have perished. He designed, though it is not certain that he ever carried into execution, a large picture of Sir Thomas More among his family and household. Various versions exist, the best being at Nostell Priory, but none can be accepted as Holbein's work. Some large drawings for the heads are in the collection at Windsor; the drawing for the whole (in the museum at Basle) was taken by Holbein on his return to Basle in 1528, and in August 1529 presented at Freiburg-im-Breisgau to Erasmus, who expressed in a letter to Sir Thomas More his delight at seeing it.

Holbein, on returning to his family at Basle, purchased a house on 29 Aug. 1528. He probably painted at this time the portrait of his wife and two children, and also a new portrait of Erasmus (both in the museum at Basle). The reformed religion, however, now held the day in Basle, and the citizens were forced into compliance with it. In 1529 an iconoclastic outbreak took place in which many of Holbein's religious paintings perished. Holbein was, however, employed to complete the series of mural paintings in the town hall, and added the two fine compositions ‘The Meeting of Samuel and Saul’ and ‘Rehoboam,’ the memory of which is preserved by drawings in the museum at Basle. He found, however, but inadequate employment, and, in spite of the appeal of his fellow-citizens, returned to England in 1532. Here, however, he also found matters changed. More, who had become lord chancellor, was in disgrace, and Warham was dead. He found his first employment among his compatriots, the merchant goldsmiths (the bankers of the time) of the Steelyard. Several beautiful portraits of them survive, among them being John of Antwerp (at Windsor), Derich Born (at Munich, and another at Windsor), Georg Gyse (at Berlin), Derich Berck (at Petworth), Derich Tybis (at Vienna), and Cyriacus Fallen (at Brunswick). For the Steelyard merchants he designed an allegorical pageant of ‘Parnassus’ (drawing at Leipzig), on the occasion of Anne Boleyn's coronation procession. He was also employed to paint two large paintings for the walls of their hall, representing ‘The Triumph of Riches’ (drawing in the Louvre) and ‘The Triumph of Poverty.’ These pictures, which came into Charles I's collection, were sold into Flanders, and have disappeared; copies were made by Federigo Zuccaro (copies of these in Lady Eastlake's collection), and others by Jan de Bisschop (in the print room at the British Museum). The fine drawing of ‘The Queen of Sheba before Solomon’ (at Windsor) was probably a design for a similar painting. To this year belongs the portrait of Robert Cheseman, the king's falconer (in the gallery at the Hague). In 1533 Holbein painted the important picture known as ‘The Ambassadors’ (in the National Gallery, drawing for the principal head at Windsor); it is uncertain who the persons depicted are, but a suggestion (see Art Journal, January 1891) has been made (among others) that they represent Jean de Dinteville, Bailli de Troyes, ambassador from France to England in 1533 and 1535, and his friend the poet scholar, Nicholas Bourbon of Vandœuvre, known in many ways as among Holbein's most intimate friends. As a companion to this may be reckoned the ‘Morett’ portrait (picture and drawing at Dresden), representing Charles de