a number of papers of more or less value published by him we notice one on a gas furnace for organic analysis. Hofmann was made a F.R.S., London, in 1851.—J. A. W.
HOFMANNSWALDAU, Christian Hofmann von, one of the founders of the second Silesian school of poets, was born at Breslau, 25th December, 1618, and died April 8, 1679. He was educated at Dantzic and Leyden, travelled through the western part of Europe, and after his return occupied a high position in his native town, his poems are in the very worst taste—bombastic and full of licentiousness. He also translated the Heroids of Marini and the Pastor Fido of Guarini. Complete works, edited by Neukirch, 7 vols., 1695-1725.—K. E.
* HOFMEISTER, William, an eminent German botanist, who has devoted his attention chiefly to vegetable physiology. He has specially studied the development of the embryo, and has written several valuable papers on that subject, which are printed in the Transactions of the Royal Society of Sciences of Saxony. His most elaborate work is on the reproductive organs of Lycopodiaceæ, and on the embryology of Coniferæ. In all his writings Hofmeister has displayed an intimate knowledge of physiology, and a great power of microscopical research.—J. H. B.
HOGAN, John, Irish sculptor, was born at Tallow, county of Waterford, in October, 1800; was for a time in a solicitor's office; but in 1814 was transferred to that of Sir Thomas Deane, the distinguished architect. Here he remained till his twenty-second year, but, during the latter part of his term, devoted his attention exclusively to architectural sculpture, and with so much success that he at once received a commission to carve a series of above forty figures for a Roman catholic chapel, and a statue for the Mall in Cork. His talent gained him friends who enabled him to go to Rome, where, from 1823 to 1829, he pursued his studies with great diligence. Whilst at Rome he executed several poetic designs of a very high order, especially an exquisite statue of "Eve after her expulsion from Paradise, contemplating a dead dove," which was purchased by Earl de Tabley; and a "Drunken Faun," which was enthusiastically praised by Thorwaldsen. Returning to Ireland, he settled in Dublin, and was thenceforward chiefly engaged on ecclesiastical and monumental works for Roman catholic churches, and portrait statues and busts of distinguished Irishmen; of which those of Lord Cloncurry, Daniel O'Connell (in the Dublin exchange), and Father Mathew, are well known examples. He died, March 27, 1857, leaving a wife and eleven children but ill provided for. John Hogan was undoubtedly one of the best sculptors Ireland has produced; and if his later works scarcely bore out the remarkable promise of his early poetic productions, it is explained by the fact that he was compelled to produce works in which originality was hardly possible, and imagination would have been out of place.—J. T—e.
* HOGARTH, George, musical critic and historian of music, is the son of a wealthy Berwickshire farmer, and was born about 1796. He became a writer to the signet in Edinburgh, and his sister was married to James Ballantyne, one of Sir Walter Scott's Ballantynes. He figures in Lockhart's Life of Scott as one of the circle which made up the symposia in St. John Street of the Modern Athens, where Sir Walter often partook of the hospitality of his publisher and partner. At the gravest crisis of Scott's life, he is described in the same work as availing himself of Mr. Hogarth's counsel. With a strong taste for a knowledge of music, its history and literature, Mr. Hogarth gave up the practice of law at Edinburgh, and removing to London was for a long period musical critic of the Morning Chronicle. In 1835 he published "Musical History, Biography, and Criticism," followed in 1838 by "Memoirs of the Musical Drama." A new and expanded edition of this work appeared in 1851 with the new title, "Memoirs of the Opera—Italy, France, Germany, and England." When the Daily News was founded, with Mr. Charles Dickens for editor, Mr. Hogarth, his father-in-law, became its musical critic.—F. E.
HOGARTH, William, the celebrated satirist and painter, was born in the parish of St. Bartholomew, London, on the 10th of December, 1697. His father, originally a schoolmaster of Westmoreland, was then established in London as a printer's reader or corrector of the press. The son was apprenticed at an early age to Ellis Gamble, a silversmith, who had a shop in Cranbourn Alley, Leicester Square, and Hogarth was brought up as an engraver of crests and ciphers on metal. In 1718, however, when the term of his apprenticeship had expired, he forsook silver-engraving for the higher branch of the art on copper, and procured from the booksellers more congenial employment. His first known illustrations are the twelve small plates executed for Butler's Hudibras in 1726, which have been copied for subsequent editions of that poem; and though Hogarth engraved many book-prints about this time, he found engraving such a miserable profession that he got sometimes for his plates a very little more than the value of the copper; he therefore adopted portrait-painting as his main support. In this branch of art he did much better; he ventured to take a wife in 1730, and married the only daughter of Sir James Thornhill the painter, in spite of her father's opposition. His marriage seems to have acted as a great stimulus to his exertions, for in a very few years, from an obscure engraver we find him developed into an excellent painter, without a rival in his own satirical sphere, and with few equals in the mere technical manipulations of his art. Of his several moral series of excellent pictures, produced from 1734 to 1744 inclusive, the most admirable is now in the National gallery, known as the "Marriage à la Mode," in six scenes. They were sold by auction by Hogarth in 1750, when, to the painter's extreme disappointment, only one bidder appeared. To him the pictures were knocked down at 110 guineas; the frames alone had cost the painter 24 guineas. They were in 1797 bought for £1381 by Mr. Angerstein, with whose collection they were purchased by the nation in 1824. The nation possesses also an excellent specimen of Hogarth's portrait-painting in the picture of himself and his dog Trump, executed in 1745, which formed likewise one of the Angerstein collection; it was bought by Mr. Angerstein after the death of Mrs. Hogarth in 1789. Another very good portrait by Hogarth is that of Captain Coram at the Foundling hospital. Of his pictures, the "Rake's Progress" and the "Harlot's Progress" are, like nearly all his other works, well known from prints. In 1753 he appeared as an author. "The Analysis of Beauty, written with a view of fixing the fluctuating ideas of taste," was published in that year. In 1757 he was appointed sergeant painter to the king. He died at his house in Leicester Square, October 26, 1764, and was buried in a vault at Chiswick, where he had a villa in which he generally resided in the summer. "Hogarth," says Walpole, "resembles Butler; but his subjects are more universal, and amidst all his pleasantry he observes the true end of comedy—reformation." There is always a moral to his pictures. Sometimes he rose to tragedy, not in the catastrophe of kings and heroes, but in marking how vice conducts insensibly and incidentally to misery and shame. He warns against encouraging cruelty and idleness in young minds, and discerns how the different vices of the great and vulgar lead by various paths to the same unhappiness." There are several sets of Hogarth's works published, but most are copies. The best original set is that sold by the Boydells after the death of Mrs. Hogarth, in one hundred and ten plates.—(Walpole, Nichols, Ireland, &c.)—R. N. W.
HOGG, James, a Scottish poet, generally known by his poetical name of "The Ettrick Shepherd," was a native of Ettrick Forest in Selkirkshire. According to the last of the numerous accounts which he gave of his life, he was born in 1772, on the 25th of January, the anniversary of Burns' birthday. But the parish register of Ettrick records his baptism as having taken place on the 9th of December, 1770. His forefathers for several generations were shepherds, distinguished by their integrity and skill; but his father having saved a little money took a lease of a farm in Ettrick and commenced dealing in sheep. In the course of a few years, however, he was ruined, and lost his whole property. The poet's mother, Margaret Laidlaw, was a woman of remarkable vivacity, humour, and spirit, but deeply imbued with superstition, and was celebrated over the whole district as a reciter of ancient ballads and traditions. Hogg was only seven years of age at the time of his father's bankruptcy, and was in consequence obliged to go to service with a neighbouring farmer as a cowherd. His school education must have been very imperfect; but following an occupation which at certain seasons afforded him abundance of leisure, and living in a picturesque district famous for its historical and poetic associations, he was from early years familiar with all the legendary lore and ballad strains of the Border, as well as with the sacred scriptures and the usual household works of the Scottish peasant, and these have evidently exercised an important influence in the formation of his character. After serving a number of masters
