opera, and the duties of this post suspended for a time his rapid course of composition, and impregnated him so strongly with the style of Rossini, upon whose music he was daily occupied, that his next productions are manifestly framed on the then popular model. He brought out the one act operas of "Le Mulètier," "Lasthénie," and "Vendôme en Espagne" (which last he shared with Auber), all in 1823. In 1824 he produced "Le roi Rèné," in 1825 "Le Lapin Blanc," and in 1826 "Marie," which is esteemed the best work he had till then produced, and in which all his own speciality of manner is resumed. Hérold was now appointed chef du chant at the acadèmie; for this theatre he wrote the music of four ballets, one of which, "La Somnamhule," first played in 1827, subsequently furnished Bellini with the subject of his popular opera of the same name. Harold received the decoration of the legion of honour in 1829, after producing the opera of "L'Illusion." "Emmeline" appeared in 1830; and "Zampa," the most admired and the most meritorious of all his works, in 1831, translated into German, Italian, and English; the last is popular throughout Europe. He divided with several composers the opera of "La Marquise de Brinvilliers," and wrote also "La Médecine sans Médecin" in 1832. At the close of this year, "Le Prè au Clercs," which had been some time finished, was played; and the composer, who had suffered fearfully from a chest complaint during its rehearsals, died while Paris was ringing with its brilliant success, and left a portion of the opera of "Ludovic," which, completed by Halévy, was produced in 1834. Besides his dramatic works, Hérold wrote many pieces for the pianoforte.—G. A. M.
HERON, Robert, an unfortunate Scottish author, was born in New Galloway, 6th November, 1764. He was the son of John Heron, a weaver. Young Heron made such rapid progress at the parochial school, that at the age of eleven he contrived, by acting as a private tutor, to maintain and educate himself. He entered the university of Edinburgh in the year 1780, with the view of studying for the church, and supported himself at first by private teaching. The first work published with his name was a judicious and tasteful "Critique on the Genius and Writings of Thomson." Then followed several translations from French authors, the profits of which should have sufficed for his support; but he had acquired extravagant habits, which brought him into distress and a prison. He now undertook to prepare a history of Scotland in six volumes, the first of which was written in prison, and was published in 1793. Numerous other works followed from his pen; but pecuniary embarrassments again supervened, and obliged him to quit Edinburgh for London. Here for a time he pursued his literary labours with success; but his vicious habits returned upon him, and the result was that he was consigned to Newgate in 1806. After many months a most pathetic appeal to the Literary Fund procured his release and admission to an hospital, where in the course of a week this able, industrious, but misguided and most miserable man of letters died, 13th April, 1807.—J. T.
HEROPHILUS, one of the most celebrated physicians of antiquity, was born at Chalcedon in Bithynia in the fourth century b.c. He was a pupil of Praxagoras, and settled at Alexandria, which city was then quite recently founded, but was rapidly increasing both in size and celebrity. Hardly anything is known of the events of his life; but an amusing story is told of the practical method in which he convinced a sophist of Alexandria of the possibility of motion. It appears that the philosopher used to deny the existence of motion, and to support his assertion by the following dilemma:—"If matter moves, it is either in the place where it is, or in the place where it is not; but it cannot move in the place where it is, and certainly not in the place where it is not; therefore it cannot move at all." He happened, however, to dislocate his shoulder, and sent for Herophilus to replace it, who first began by proving by his own argument, that it was quite impossible that any dislocation could have taken place; upon which the unhappy sophist begged him to leave such quibbling for the present, and to proceed at once to his surgical treatment. He wrote several medical and anatomical works, of which only the titles remain, and a few fragments preserved by Galen and other writers. He is also the first person who is known to have commented on any of the works of Hippocrates, and wrote an explanation of the words used by him, which had since become obsolete or obscure. But he owes his principal celebrity to his discoveries in anatomy. He is even said to have dissected criminals alive, a well-known accusation which it seems difficult entirely to disbelieve, though it is impossible to ascertain the exact amount of truth on which it is founded. He was intimately acquainted with the nervous system, and seems to have recognized the distinction between nerves of sensation and nerves of voluntary motion; though he included the tendons and ligaments under the common term νεῦρον, and called some at least of the nerves by the name of πόροι, meatus. He distinguished the cerebrum from the cerebellum (as Aristotle appears to have also done), and placed the seat of the soul in the ventricles of the brain. Several anatomical names that are still in use, as the "duodenum," the "calamus scriptorius," and the "torcular Herophili," were probably first applied to these parts by Herophilus; and many more of his anatomical opinions are recorded, which do not require to be specially noticed in this place. He was the founder of a celebrated medical school at Men-Carus, near Laodicea in Phrygia, which continued to flourish after his death, and produced several eminent physicians, whose names have been preserved. All the fragments of the writings of Herophilus that are still extant, and all the scattered notices of his life and opinions that are to be found in the ancient authors, have been very carefully collected by Dr. C. F. H. Marx, and published in the form of a dissertation, entitled "De Herophili celeberrimi medici Vitâ, Scriptis, atque in medicinâ Meritis," Göttingen, 4to, 1840; and there is a review of the work (by the writer of the present article) in the Brit. and For. Med. Rev. vol. xv., from which the preceding account is abridged.—W. A. G.
HERP or HARP, Gerard van, the son of Jan van Herp, was a clever Flemish painter of the school of Rubens, born at Antwerp in 1605. The National gallery possesses a large composition of many elaborate small figures painted on copper, by him called "Conventual Charity"—monks are distributing loaves. His works which are scarce, are generally well coloured.—R. N. W.
HERRERA, Fernando de, a Spanish ecclesiastic and poet, born in 1534 at Seville, and died in 1597. He was probably an intimate friend of Cervantes, who wrote a sonnet in his praise. Herrera is perhaps best known by his acute but pedantic notes on Garcilasso de la Vega, Seville, 1580. His tastes led him into the affected style, which afterwards became prevalent under the name of Gongorism. Of Herrera's own works the best are his lyric poems, some of which have considerable dignity and sweetness; others are bombastic and farfetched, to a degree scarcely to be expected in an author so imbued with the spirit of Petrarch. Herrera also wrote a narrative of the war in Cyprus, with the events of the naval battle of Lepanto, Seville, 1572; also, a life of Sir Thomas More from the Latin of Stapleton. There are two good editions of the poems of Herrera, one edited by his friends Pacheco and Rioja, 1619; the other forming two volumes of the Poesias Castellanas, by Fernandez, 1808. Contemporary critics have bestowed on Herrera the epithet of the Divine.—F. M. W.
HERRERA, Francisco de, called el Viejo, or the Elder, was born at Seville about 1576, and was the fellow-pupil of Pacheco in the school of Luis Fernandez. He was the first of the Andalucian painters to forsake the timid Flemish taste which long prevailed in Spain. His style was popular among young painters, but his temper was so bad that neither his pupils nor his own children could live with him; the great Velazquez was one of his disgusted scholars. Herrera's style was very bold and effective, and he has left many good works in Seville; among them the "Legend of St. Hermengild," painted for the jesuits' college, to which the painter had fled for refuge to escape the vengeance of the authorities for his having coined false money. This picture is now in the museum of Seville, and Philip IV. of Spain was so well pleased with it in 1624, that he granted the painter a free pardon for his offence. In 1650 Herrera settled in Madrid, where he died in 1656.—R. N. W.
HERRERA, Francisco de, called el Mozo, or the Young, painter and architect, born in Seville in 1622, was the scholar and imitator of his father, the elder Herrera. He robbed his father and fled to Rome, where he studied the antique and the works of Raphael, but his natural taste was for low subjects—the Romans called him il Spagnolo del pesci (the Fish Spaniard); his chief excellence was his colouring. After the death of his father he returned to Seville, and executed several large pictures for the religious houses there; and he became also a good portrait-painter. In 1660 he was elected vice-president
