Page:The New International Encyclopædia 1st ed. v. 10.djvu/30

HERPETOLOGY. attempt at a sysl^-iimtif arruiijjciiiont of reptiles was made by Hay (l(i!)3), but lie diii nut clearly I'Oiiiprehentl tlicir relationships, iiur ditl lie give the j;roiip a name. Liniia'us (l73JliS) classed tortoises, lizards, and serpents as aniphiliia, and recoyiiizcd two subj;roiips, (1) thost? with and (2) those without led. lie included in this clasa those forms which we to-day call anipliibia, and later he addiMl branch iiL^^tegous lishes. t>l course, such an arbitrary cla.ssilieation. without any iiior- ].liologieal foundation, was soon rcplacvd by others. Linna'us recognized 2l;i siwcics and 10 genera. Cuvier (1S17-21I) practically adopted the elassilieation of Brongniart (17UU), in which four orders wore rceoj,'niz»>d : (1) Chelonia; (2) iSauria (lizards and crocodiles); i3) Opliidia (serp<'nts and provisionally the cacilians) ; and (4) Hatrachia, the latter correspoiidinj^ to our present Amphil>ia niiiuis the ca'cilians. The splen- did addilicns to oui knuwlcdye ot their aiiatonii- cal structure, nnide by such men as Johannes Miiller in Germany, dwcn and Huxley in Enj;- land, and Cope in America, and an iitcreascd knowledge of the cmbryolofjical development of some puzzling forms, has greatly added to the accuracy of our elassilieation both of the Reptilia and the Amphibia. The light which has been shed on the relationship of the groups by paleonto- logical researches of the |)asl century particularly has also been of inestimable value in the estab- lishment of our present elassilieation, for which see KrcfTii.ic. HER'PETON (Gk. ipireTbv, reptile). An ex- tremely rare snake of Soullica^tern Asia. It be- longs to a family ( Uomalopsida;) of colubrine viviparous water-snakes, which prey upon fish and crustaceans, and often moor themselves by curling the prehensile tail about some waterside branch or root. This species {IJciiielon tot- tuculiiluiii.) is peculiar in having two forward- pointing appendages covered with scales on the snout, supposed to be organs of touch. Compare Lanuaha. HEBREBA, ilr-riTrA, I^rxaxdo de (1534- 07). . S|i;iiiish poet, born at S<>ville. the head of the sivcalled Seville school of lyric poetry in the si.xtwnth century. When advanced in life he took orders. He was master of the Greek, Roman, and Italian literatures, and was a man of pro- digious learning. As a poet he ranked so high in the opinion of his contemporaries that they bestowed upon him the appellation of the 'divine.' Like his acknowledged master, (iareilaso de la Vega, he sings ehielly in the foreign Italian strains, and is particularly successful in the canrii'm and the soneto. His masterpiece is the canci^n (or ode) I'or la viloria dc Lepnnto. Many of his erotic poems are remarkable for tender feeling, and his odes frequently display a lofty enthusiasm : hut the expression is some- times east in too classical a mold, and consequent- ly wears a certain air of artificiality. Herrera himself prepared for publication a volume of his verse. Alguiias obrnf, (Seville, 1.582). to which additions were made in an edition by Pacheco (IGl!)). The poems are to be found also in Ramon Fernandez. I'oixins castelhinas (1808), and in the liihUotern <Ir nutnrcs enpaiioles. x.xii. (Madrid, 1872) : selections in Ford, A Spniiuih Antholnciji (New York. 1!)01). His chief his- torical work is the Ifrlncidn de la guerra de Chipre y hatalla dc Lcpanto (1572), and he 18 HERRERA. translated from the Latin of Staplelon a life of Sir Thomas Alore. In 1580 he pub- lished an annotated edition of the jiuems of Garcilaso. Consult: Fernando de Ilvrrvrti, Con- Irovcrsia sobre aiwlaciones d las o6ra« dc Oar- cilaao de la ega: i'ocsias iiu'ditat (Seville, 1870) ; Morel-Fatio, L'hymnc stir Lipante (Paris, 18U3) ; Lasso de la W'ga. llialuria dc la vscuila povlicu secillanu (Madrid, 187tj) ; Boureiez, in the Aiiiiulen dc la t'aculli dcs Ivllrea de Bordeaux (Hordeau.x, 1891). HERRERA, Fbancisco ue ( 1576-1G56) , called Kl 'icjo (the elder). A Spanish painter of the school of .Seville. He was tiie lirst to emancipate himself from the Italian manner then dominant in Spain, and to assume the vigorous naturalis- tic style afterwards adopted by Velazquez (q.v.). He may therefore be regarded as the founder of tlie new national school of .Spain. Herrera was born at Seville in 157<i, and studied i)ainting with Luis Fernandez, who painted in the Italian man- ner. He soon emancipated himself from this master, and founded a school of his own ; but his unbearable temper drove awaj' his pupils, among whom was Velazquez, and even his own sons. A carver in bronze, Herrera was aeeu.sed of coimt«rfeiling money, and in order to avoid arrest he look s;uictuary in the .lesuit College at Se- ville. bile there he painted the "rriumph of Saint llcrmengild." now in the Museum of Seville — a picture of such merit that when it was seen by Philip IV. on his visit to the city he pardoned the artist. .After his release Herrera Ix-came more unbearable than ever. His wife left him; his elder son, called El Kubio, died of consump- tiim : and his younger. Herrera el Mozo, robbing his father of his money, lied to Italy. In llioO the father went to Madrid, where he died in ItioO. His subjects are generally sombre and tragic, and are mostlv of a religious nature, alth(jugh he sometimes painted genre. They contain all the ([ualities of a great artist; a design grandiose but correct and true to nature, especially in the nudes; a harmonious color, laid on in great masses. He painted both in oils and al fresco, but most of his fresco-work has disappeared. His- principal works are at Seville. Among them are the "Last Judgment," in the Church of San Ber- nardo; four great pictures in the archicpiscopal ])alacc. representing the "Fall of Manna." "Moses Smiting Water from the Rocks," the "Marriage at Cana," and the "Miracle of the Loaves and Fish(>s;" "Saint Peter," in the Cathedral; and "Saint Basil," in the Museum : "Saint Augustus and Saint .Jerome." in the Montpensier Collection, Seville. The Louvre has two excellent examples, "Saint Basil Pictating His Doctrine," and the "Israelites Gathering Manna in the Desert;" the IMuseum of Dresden, a "Saint Matthew." The frescoes with which lie ornamented the facade of the convent of La Merced, at Seville, have perished. as have also those at Madrid. Luckily the artist himself etched a number of the latter, showing great skill in this branch of art, as is further evident from his print. "Saint Peter." His son, Francisco Herrera (1622-85), called El Mozo (the younger), after be had fled to Italy, jiaintcd pictures of various subjects, especially of lish. the latter with such siiccess (bat he w.is called "II Spagnuolo degli Pesci." In 1(556. after bis father's death, he returned to Seville. Tn 1660' he was one of the founders of the academy there, but on account of his jealousy of Murillo (q.v.)^