Chapter V: CHLODWIG KARL VICTOR, prince of Hohenlohe-Schillingsfurst (2)

Once only, after 1526, and after he had produced the "Lais" and "Venus and Amor," did Holbein with impartial spirit give his services and pencil to the Roman Catholic cause. The burgomaster Meyer, whose patronage he had already enjoyed, now asked him to represent himself and his wives and children in prayer before the Virgin; and Holbein produced the celebrated altarpiece now in the palace of Prince William of Hesse at Darmstadt, the shape and composition of which are known to all the world by its copy in the Dresden museum. The drawings for this masterpiece are amongst the most precious relics in the museum of Basel. The time now came when art began to suffer from unavoidable depression in all countries north of the Alps. Holbein, at Basel, was reduced to accept the smallest commissions--even for scutcheons. Then he saw that his chances were dwindling to nothing, and taking a bold resolution, armed with letters of introduction from Erasmus to More, he crossed the Channel to England, where in the one-sided branch of portrait painting he found an endless circle of clients. Eighty-seven drawings by Holbein in Windsor Castle, containing an equal number of portraits, of persons chiefly of high quality, testify to his industry in the years which divide 1528 from 1543. They are all originals of pictures that are still extant, or sketches for pictures that were lost or never carried out. Sir Thomas More, with whom he seems to have had a very friendly connexion, sat to him for likenesses of various kinds. The drawing of his head is at Windsor. A pen-and-ink sketch, in which we see More surrounded by all the members of his family, is now in the gallery of Basel, and numerous copies of a picture from it prove how popular the lost original must once have been. At the same period were executed the portraits of Warham (Lambeth and Louvre), Wyatt (Louvre), Sir Henry Guildford and his wife (Windsor), all finished in 1527, the astronomer Nicholas Kratzer (Louvre), Thomas Godsalve (Dresden), and Sir Bryan Tuke (Munich) in 1528. In this year, 1528, Holbein returned to Basel, taking to Erasmus the sketch of More's family. With money which he brought from London he purchased a house at Basel wherein to lodge his wife and children, whose portraits he now painted with all the care of a husband and father (1528). He then witnessed the flight of Erasmus and the fury of the iconoclasts, who destroyed in one day almost all the religious pictures at Basel. The municipality, unwilling that he should suffer again from the depression caused by evil times, asked him to finish the frescoes of the town-hall, and the sketches from these lost pictures are still before us to show that he had not lost the spirit of his earlier days, and was still capable as a composer. His "Rehoboam receiving the Israelite Envoys," and "Saul at the Head of his Array meeting Samuel," testify to Holbein's power and his will, also proved at a later period by the "Triumphs of Riches and Poverty," executed for the Steelyard in London (but now lost), to prefer the fame of a painter of history to that of a painter of portraits. But the reforming times still remained unfavourable to art. With the exception of a portrait of Melanchthon (Hanover) which he now completed, Holbein found little to do at Basel. The year 1530, therefore, saw him again on the move, and he landed in England for the second time with the prospect of bettering his fortunes. Here indeed political changes had robbed him of his earlier patrons. The circle of More and Warham was gone. But that of the merchants of the Steelyard took its place, for whom Holbein executed the long and important series of portraits that lie scattered throughout the galleries and collections of England and the Continent, and bear date after 1532. Then came again the chance of practice in more fashionable circles. In 1533 the "Ambassadors" (National Gallery), and the "Triumphs of Wealth and Poverty" were executed, then the portraits of Leland and Wyatt (Longford), and (1534) the portrait of Thomas Cromwell. Through Cromwell Holbein probably became attached to the court, in the pay of which he appears permanently after 1537. From that time onwards he was connected with all that was highest in the society of London. Henry VIII. invited him to make a family picture of himself, his father and family, which obtained a post of honour at Whitehall. The beautiful cartoon of a part of this fine piece at Hardwicke Hall enables us to gauge its beauty before the fire which destroyed it in the 17th century. Then Holbein painted Jane Seymour in state (Vienna), employing some English hand perhaps to make the replicas at the Hague, Sion House and Woburn; he finished the Southwell of the Uffizi (copy at the Louvre), the jeweller Morett at Dresden, and last, not least, Christine of Denmark, who gave sittings at Brussels in 1538. During the journey which this work involved Holbein took the opportunity of revisiting Basel, where he made his appearance in silk and satin, and _pro forma_ only accepted the office of town painter. He had been living long and continuously away from home, not indeed observing due fidelity to his wife, who still resided at Basel, but fairly performing the duties of keeping her in comfort. His return to London in autumn enabled him to do homage to the king in the way familiar to artists. He presented to Henry at Christmas a portrait of Prince Edward. Again abroad in the summer of 1539, he painted with great fidelity the princess Anne of Cleves, at Duren near Cologne, whose form we still see depicted in the great picture of the Louvre. That he could render the features of his sitter without flattery is plain from this one example. Indeed, habitual flattery was contrary to his habits. His portraits up to this time all display that uncommon facility for seizing character which his father enjoyed before him, and which he had inherited in an expanded form. No amount of labour, no laboriousness of finish--and of both he was ever prodigal--betrayed him into loss of resemblance or expression. No painter was ever quicker at noting peculiarities of physiognomy, and it may be observed that in none of his faces, as indeed in none of the faces one sees in nature, are the two sides alike. Yet he was not a child of the 16th century, as the Venetians were, in substituting touch for line. We must not look in his works for modulations of surface or subtle contrasts of colour in juxtaposition. His method was to the very last delicate, finished and smooth, as became a painter of the old school.

Amongst the more important creations of Holbein's later time we should note his "Duke of Norfolk" at Windsor, the hands of which are so perfectly preserved as to compensate for the shrivel that now disfigures the head. Two other portraits of 1541 (Berlin and Vienna), the Falconer at the Hague, and John Chambers at Vienna (1542), are noble specimens of portrait art; most interesting and of the same year are the likenesses of Holbein himself, of which several examples are extant--one particularly good at Fahna, the seat of the Stackelberg family near Riga, and another at the Uffizi in Florence. Here Holbein appears to us as a man of regular features, with hair just turning grey, but healthy in colour and shape, and evidently well to do in the world. Yet a few months only separated him then from his death-bed. He was busy painting a picture of Henry the VIII. confirming the Privileges of the Barber Surgeons (Lincoln's Inn Fields), when he sickened of the plague and died after making a will about November 1543. His loss must have been seriously felt in England. Had he lived his last years in Germany, he would not have changed the current which decided the fate of painting in that country; he would but have shared the fate of Durer and others who merely prolonged the agony of art amidst the troubles of the Reformation. (J. A. C.)

The early authorities are Karel Van Mander's _Het Schilder Boek_
(1604), and J. von Sandrart, _Accademia Todesca_ (1675). See also R.
N. Wornum, _Life and Work of Holbein_ (1867); H. Knackfuss, _Holbein_
(1899); G. S. Davies, _Holbein_ (1903); A. F. G. A. Woltmann, _Holbein
und seine Zeit_ (1876).

HOLBERG, LUDVIG HOLBERG, BARON (1684-1754), the great Scandinavian writer, was born at Bergen, in Norway, on the 3rd of December 1684. Both Holberg's parents died in his childhood, his father first, leaving a considerable property; and in his eleventh year he lost his mother also. Before the latter event, however, the family had been seriously impoverished by a great fire, which destroyed several valuable buildings, but notwithstanding this, the mother left to each of her six children some little fortune. In 1695 the boy Holberg was taken into the house of his uncle, Peder Lem, who sent him to the Latin school, and prepared him for the profession of a soldier; but soon after this he was adopted by his cousin Otto Munthe, and went to him up in the mountains. His great desire for instruction, however, at last induced his family to send him back to Bergen, to his uncle, and there he remained, eagerly studying, until the destruction of that city by fire in 1702, when he was sent to the university of Copenhagen. But he soon exhausted his resources, and, having nothing to live upon, was glad to hurry back to Norway, where he accepted the position of tutor in the house of a rural dean at Voss. He soon returned to Copenhagen, where in 1704 he took his degree, and worked hard at French, English and Italian. But he had to gain his living, and accordingly he accepted the post of tutor once more, this time in the house of Dr Smith, vice-bishop of Bergen. The good doctor had travelled much, and the reading of his itineraries and note-books awakened such a longing for travel in the young Holberg that at last, at the close of 1704, having scraped together 60 dollars, he went on board a ship bound for Holland. He proceeded as far as Aix-la-Chapelle, where he fell sick of a fever, and suffered so much from weakness and poverty, that he made his way on foot to Amsterdam, and came back to Norway. Ashamed to be seen so soon in Bergen, he stopped at Christianssand, where he lived through the winter, supporting himself by giving lessons in French. In the spring of 1706 he travelled, in company with a student named Brix, through London to Oxford, where he studied for two years, gaining his livelihood by giving lessons on the violin and the flute. He mentions, with gratitude, the valuable libraries of Oxford, and it is pleasant to record that it was while he was there that it first occurred to him, as he says, "how splendid and glorious a thing it would be to take a place among the authors." Through London and Elsinore he reached Copenhagen a third time, and began to lecture at the university; his lectures were attended, but he got no money. He was asked in 1709 to conduct a rich young gentleman to Dresden, and on his return journey he lectured at Leipzig, Halle and Hamburg. Once more in Copenhagen, he undertook to teach the children of Admiral Gedde. Weary with this work, he took a post at Borch College in 1710, where he wrote, and printed in 1711, his first work, _An Introduction to the History of the Nations of Europe_, and was permitted to present to King Frederick IV. two manuscript essays on Christian IV. and Frederick III. The king soon after presented him with the title of Professor, and with the Rosenkrantz grant of 100 dollars for four years, the holder of which was expected to travel. Holberg accordingly started in 1714, and visited, chiefly on foot, a great portion of Europe. From Amsterdam he walked through Rotterdam to Antwerp, took a boat to Brussels, and on foot again reached Paris. Walking and skating, he proceeded in the depth of winter to Marseilles, and on by sea to Genoa. On the last-mentioned voyage he caught a fever, and nearly died in that city. On his recovery he pushed on to Civita Vecchia and Rome. When the spring had come, being still very poor and in feeble health, he started homewards on foot by Florence, across the Apennines, through Bologna, Parma, Piacenza, Turin, over the Alps, through Savoy and Dauphine to Lyons, and finally to Paris, where he arrived in excellent health. After spending a month in Paris, he walked on to Amsterdam, took sail to Hamburg, and so went back to Denmark in 1716. He spent the next two years in extreme poverty, and published his _Introduction to Natural and Popular Law_. But at last, in 1718, his talents were recognized by his appointment as professor of metaphysics at the university of Copenhagen; and in 1720 he was promoted to the lucrative chair of public eloquence, which gave him a seat in the consistory. His pecuniary troubles were now at an end. Hitherto he had written only on law, history and philology, although in a Latin controversy with the jurist Andreas Hojer of Flensborg his satirical genius had flashed out. But now, and until 1728, he created an entirely new class of humorous literature under the pseudonym of Hans Mikkelsen. The serio-comic epic of _Peder Paars_, the earliest of the great classics of the Danish language, appeared In 1719. This poem was a brilliant satire on contemporary manners, and enjoyed an extraordinary success. But the author had offended in it several powerful persons who threatened his life, and if Count Danneskjold had not personally interested the king in him, Holberg's career might have had an untimely close. During the next two years he published five shorter satires, all of which were well received by the public. The great event of 1721 was the erection of the first Danish theatre in Gronnegade, Copenhagen; Holberg took the direction of this house, in which was played, in September 1722, a Danish translation of L'Avare. Until this time no plays had been acted in Denmark except in French and German, but Holberg now determined to use his talent in the construction of Danish comedy. The first of his original pieces performed was _Den politiske Kandestober_ (The Pewterer turned Politician); he wrote other comedies with miraculous rapidity, and before 1722 was closed, there had been performed in succession, and with immense success, _Den Vaegelsindede_ (The Waverer), _Jean de France_, _Jeppe paa Bjerget_, and _Gert the Westphalian_. Of these five plays, four at least are masterpieces; and they were almost immediately followed by others. Holberg took no rest, and before the end of 1723 the comedies of _Barselstuen_ (The Lying-in Room), _The Eleventh of July_, _Jakob von Thyboe_, _Den Bundeslose_ (The Fidget), _Erasmus Montanus_, _Don Ranudo_, _Ulysses of Ithaca_, _Without Head or Tail_, _Witchcraft_ and _Melampe_ had all been written, and some of them acted. In 1724 the most famous comedy that Holberg produced was _Henrik and Pernille_. But in spite of this unprecedented blaze of dramatic genius the theatre fell into pecuniary difficulties, and had to be closed, Holberg composing for the last night's performance, in February 1727, a _Funeral of Danish Comedy_. All this excessive labour for the stage had undermined the great poet's health, and in 1725 he had determined to take the baths at Aix-la-Chapelle; but instead of going thither he wandered through Belgium to Paris, and spent the winter there. In the spring he returned to Copenhagen with recovered health and spirits, and worked quietly at his protean literary labours until the great fire of 1728. In the period of national poverty and depression that followed this event, a puritanical spirit came into vogue which was little in sympathy with Holberg's dramatic or satiric genius. He therefore closed his career as a dramatic poet by publishing in 1731 his acted comedies, with the addition of five which he had no opportunity of putting on the stage. With characteristic versatility, he adopted the serious tone of the new age, and busied himself for the next twenty years with historical, philosophical and statistical writings. During this period he published his poetical satire called _Metamorphosis_ (1726), his _Epistolae ad virum perillustrem_ (1727), his _Description of Denmark and Norway_ (1729), _History of Denmark_, _Universal Church History_, _Biographies of Famous Men_, _Moral Reflections_, _Description of Bergen_ (1737), _A History of the Jews_, and other learned and laborious compilations. The only poem he published at this time was the famous _Nicolai Klimii iter subterraneum_ (1741), afterwards translated into Danish by Baggesen. When Christian VI. died in 1747, pietism lost its sway; the theatre was reopened and Holberg was appointed director, but he soon resigned this arduous post. The six comedies he wrote in his old age did not add to his reputation. His last published work was his _Epistles_, in 5 vols. the last of them posthumous (1754). In 1747 he was created by the new king Baron of Holberg. In August 1753 he took to his bed, and he died at Copenhagen on the 28th of January 1754, in the seventieth year of his age. He was buried at Soro, in Zealand. He had never married, and he bequeathed all his property, which was considerable, to Soro College.

Holberg was not only the founder of Danish literature and the greatest of Danish authors, but he was, with the exception of Voltaire, the first writer in Europe during his own generation. Neither Pope nor Swift, who perhaps excelled him in particular branches of literary production, approached him in range of genius, or in encyclopaedic versatility. Holberg found Denmark provided with no books, and he wrote a library for her. When he arrived in the country, the Danish language was never heard in a gentleman's house. Polite Danes were wont to say that a man wrote Latin to his friends, talked French to the ladies, called his dogs in German, and only used Danish to swear at his servants. The single genius of Holberg revolutionized this system. He wrote poems of all kinds in a language hitherto employed only for ballads and hymns; he instituted a theatre, and composed a rich collection of comedies for it; he filled the shelves of the citizens with works in their own tongue on history, law, politics, science, philology and philosophy, all written in a true and manly style, and representing the extreme attainment of European culture at the moment. Perhaps no author who ever lived has had so vast an influence over his countrymen, an influence that is still at work after 200 years.

The editions of Holberg's works are legion. Complete editions of the
_Comedies_ are too numerous to be quoted; the best is that brought out
in 3 vols. by F. I. Lichtenberg, in 1870. Of _Peder Paars_ there exist
at least twenty-three editions, besides translations in Dutch, German
and Swedish. The _Iter subterraneum_ has been three several times
translated into Danish, ten times into German, thrice into Swedish,
thrice into Dutch, thrice into English, twice into French, twice into
Russian and once into Hungarian. The life of Holberg was written by
Welhaven in 1858 and by Georg Brandes in 1884. Among works on his
genius by foreigners may be mentioned an exhaustive study by Robert
Prutz (1857), and _Holberg considere comme imitateur de Moliere_, by
A. Legrelle (Paris, 1864). (E. G.)

HOLBORN, a central metropolitan borough of London, England, bounded N.W. by St Pancras, N.E. by Finsbury, S.E. by the City of London, S. and W. by the City of Westminster and St Marylebone. Pop. (1901), 59,405. Area 405.1 acres. Its main thoroughfare is that running E. and W. under the names of Holborn Viaduct, High Holborn and New Oxford Street.

The name of Holborn was formerly derived from Old Bourne, a tributary of the Fleet, the valley of which is clearly seen where Holborn Viaduct crosses Farringdon Street. Of the existence of this tributary, however, there is no evidence, and the origin of the name is found in _Hole-bourne_, the stream in the hollow, in allusion to the Fleet itself. The fall and rise of the road across the valley before the construction of the viaduct (1869) was abrupt and inconvenient. In earlier times a bridge here crossed the Fleet, leading from Newgate, while a quarter of a mile west of the viaduct is the site of Holborn Bars, at the entrance to the City, where tolls were levied. The better residential district of Holborn, which extends northward to Euston Road in the borough of St Pancras, is mainly within the parish of St George, Bloomsbury. The name of Bloomsbury is commonly derived from William Blemund, a lord of the manor in the 15th century. A dyke called Blemund's Ditch, of unknown origin, bounded it on the south, where the land was marshy. During the 18th century Bloomsbury was a fashionable and wealthy residential quarter. The reputation of the district immediately to the south, embraced in the parish of St Giles in the Fields, was far different. From the 17th century until modern times this was notorious as a home of crime and poverty. Here occurred some of the earliest cases of the plague which spread over London in 1664-1665. The opening of the thoroughfares of New Oxford Street (1840) and Shaftesbury Avenue (1855) by no means wholly destroyed the character of the district. The circus of Seven Dials, east of Shaftesbury Avenue, affords a typical name in connexion with the lowest aspect of life in London. A similar notoriety attached to Saffron Hill on the eastern confines of the borough. By a singular contrast, the neighbouring thoroughfare of Hatton Garden, leading north from Holborn Circus, is a centre of the diamond trade.

Of the ecclesiastical buildings of Holborn that of first interest is the chapel of St Etheldreda in Ely Place, opening from Holborn Circus. Ely Place takes its name from a palace of the bishops of Ely, who held land here as early as the 13th century. Here died John of Gaunt in 1399. The property was acquired by Sir Christopher Hatton, Lord Chancellor under Queen Elizabeth, after whom Hatton Garden is named; though the bishopric kept some hold upon it until the 18th century. The chapel, the only remnant of the palace, is a beautiful Decorated structure with a vaulted crypt, itself above ground-level. Both are used for worship by Roman Catholics, by whom the chapel was acquired in 1874 and opened five years later after careful restoration. The present parish church of St Giles in the Fields, between Shaftesbury Avenue and New Oxford Street, dates from 1734, but here was situated a leper's hospital founded by Matilda, wife of Henry I., in 1101. Its chapel became the parish church on the suppression of the monasteries. The church of St Andrew, the parish of which extends into the City, stands near Holborn Viaduct. It is by Wren, but there are traces of the previous Gothic edifice in the tower. Sacheverell was among its rectors (1713-1724), and Thomas Chatterton (1770) was interred in the adjacent burial ground, no longer extant, of Shoe Lane Workhouse; the register recording his Christian name as William. Close to this church Is the City Temple (Congregational).

Two of the four Inns of Court, Lincoln's Inn and Gray's Inn, lie within the borough. Of the first the Tudor gateway opens upon Chancery Lane. The chapel, hall and residential buildings surrounding the squares within, are picturesque, but of later date. To the west lie the fine square, with public gardens, still called, from its original character, Lincoln's Inn Fields. Gray's Inn, between High Holborn and Theobald's Road, and west of Gray's Inn Road, is of similar arrangement. The fabric of the small chapel is apparently of the 14th century, and may have been attached to the manor house of Portpool, held at that period by the Lords Grey of Wilton. Of the former Inns of Chancery attached to these Inns of Court the most noteworthy buildings remaining are those of Staple Inn, of which the timbered and gabled Elizabethan front upon High Holborn is a unique survival of its character in a London thoroughfare; and of Barnard's Inn, occupied by the Mercer's School. Both these were attached to Gray's Inn. Of Furnival's and Thavies Inns, attached to Lincoln's Inn, only the names remain. The site of the first is covered by the fine red brick buildings of the Prudential Assurance Company, Holborn Viaduct. Among other institutions in Holborn, the British Museum, north of New Oxford Street, is pre-eminent. The varied collections of Sir John Soane, accumulated at his house in Lincoln's Inn Fields, are open to view as the Soane Museum. There may also be mentioned the Royal College of Surgeons, Lincoln's Inn Fields, with museum; the Royal Colleges of Organists, and of Veterinary Surgeons, the College of Preceptors, the Jews' College, and the Metropolitan School of Shorthand. Among hospitals are the Italian, the Homoeopathic, the National for the paralysed and epileptic, the Alexandra for children with hip disease, and the Hospital for sick children. The Foundling Hospital, Guilford Street, was founded by Thomas Coram in 1739.

HOLCROFT, THOMAS (1745-1809), English dramatist and miscellaneous writer, was born on the 10th of December 1745 (old style) in Orange Court, Leicester Fields, London. His father, besides having a shoemaker's shop, kept riding horses for hire; but having fallen into difficulties was reduced ultimately to the necessity of hawking pedlary. The son accompanied his parents in their tramps, and succeeded in procuring the situation of stable boy at Newmarket, where he spent his evenings chiefly in miscellaneous reading and the study of music. Gradually he obtained a knowledge of French, German and Italian. At the end of his term of engagement as stable boy he returned to assist his father, who had again resumed his trade of shoemaker in London; but after marrying in 1765, he became a teacher in a small school in Liverpool. He failed in an attempt to set up a private school, and became prompter in a Dublin theatre. He acted in various strolling companies until 1778, when he produced _The Crisis; or, Love and Famine_, at Drury Lane. _Duplicity_ followed in 1781. Two years later he went to Paris as correspondent of the _Morning Herald_. Here he attended the performances of Beaumarchais's _Mariage de Figaro_ until he had memorized the whole. The translation of it, with the title _The Follies of the Day_, was produced at Drury Lane in 1784. _The Road to Ruin_, his most successful melodrama, was produced in 1792. A revival in 1873 ran for 118 nights. Holcroft died on the 23rd of March 1809. He was a member of the Society for Constitutional Information, and on that account was, in 1794, indicted of high treason, but was discharged without a trial. Among his novels may be mentioned _Alwyn_ (1780), an account, largely autobiographical, of a strolling comedian, and _Hugh Trevor_ (1794-1797). He also was the author of _Travels from Hamburg through Westphalia, Holland and the Netherlands to Paris_, of some volumes of verse and of translations from the French and German.

His _Memoirs written by Himself and continued down to the Time of his
Death, from his Diary, Notes and other Papers_, by William Hazlitt,
appeared in 1816, and was reprinted, in a slightly abridged form, in
1852.

HOLDEN, HUBERT ASHTON (1822-1896), English classical scholar, came of an old Staffordshire family. He was educated at King Edward's school, Birmingham, and Trinity College, Cambridge (senior classic, 1845; fellow, 1847). He was vice-principal of Cheltenham College (1853-1858), and headmaster of Queen Elizabeth's school, Ipswich (1858-1883). He died in London on the 1st of December 1896. In addition to several school editions of portions of Cicero, Thucydides, Xenophon and Plutarch, he published an expurgated text of Aristophanes with a useful onomasticon (re-issued separately, 1902) and larger editions of Cicero's _De officiis_ (revised ed., 1898) and of the _Octavius_ of Minucius Felix (1853). His chief works, however, were his _Foliorum silvula_ (1852), a collection of English extracts for translation into Greek and Latin verse; _Folia silvulae_ (translations of the same); and _Foliorum centuriae_, a companion volume of extracts for Latin prose translation. In English schools these books have been widely used for the teaching of Latin and Greek composition.

HOLDEN, SIR ISAAC, BART. (1807-1897), English inventor and manufacturer, was the son of Isaac Holden, a native of Cumberland, and was born at Hurlet, a village between Paisley and Glasgow, on the 7th of May 1807. His early life was passed in very straitened circumstances, but his father spared no pains to give him as much elementary education as possible. At the age of ten he began to work as weaver's draw-boy, and afterwards was employed in a cotton mill. Meanwhile his education was continued at the night schools, and from time to time, as funds allowed, he was taken from work and sent to the grammar-school, to which he at last went regularly for a year or two until he was fifteen, when his father removed to Paisley and apprenticed him to an uncle, a shawl-weaver there. This proving too much for his strength, in 1823 he became assistant teacher in a school at Paisley, and in 1828 he was appointed mathematical teacher in the Queen's Square Academy, Leeds. At the end of six months he was transferred to Lingard's grammar school, near Huddersfield, and shortly afterwards became classical master at Castle Street Academy, Reading. It was here that in 1829 he invented a lucifer match by adopting sulphur as the medium between the explosive material and the wood, but he refused to patent the invention. In 1830 his health again failed, and he returned to Scotland, where a Glasgow friend set up a school for him. After six months, however, he was recommended for the post of bookkeeper to Messrs. Townend Brothers, worsted manufacturers, of Cullingworth, where his interest in machinery soon led to his transfer from the counting-house to the mill. There his experiments led him to the invention of his square motion wool-comber and of a process for making genappe yarns, a patent for which was taken out by him in conjunction with S. C. Lister (Lord Masham) in 1847. The firm of Lister & Holden, which established a factory near Paris in 1848, carried on a successful business, and in 1859, when Lister retired, was succeeded by Isaac Holden and Sons, which became the largest wool-combing business in the world, employing upwards of 4000 workpeople. In 1865 Holden's medical advisers insisted on complete change of occupation, and he entered parliament as Liberal member for Knaresborough. From 1868 to 1882 he was without a seat, but in the latter year he was elected for the northern division of the West Riding, and in 1885 for Keighley. He was created a baronet in 1893, and died suddenly at Oakworth House, near Keighley, on the 13th of August 1897.

His son and heir, Sir Angus Holden, was in 1908 created a peer with the title of Baron Holden of Alston.

HOLDERLIN, JOHANN CHRISTIAN FRIEDRICH (1770-1843), German poet, was born on the 20th of March 1770, at Lauffen on the Neckar. His mother removing, after a second marriage, to Nurtingen, he began his education at the classical school there. He was destined by his relations for the church, and with this view was later admitted to the seminaries at Denkendorf and Maulbronn. At the age of eighteen he entered as a student of theology the university of Tubingen, where he remained till 1793. He was already the writer of occasional verses, and had begun to sketch his novel _Hyperion_, when he was introduced in this year to Schiller, and obtained through him the post of tutor to the young son of Charlotte von Kalb. A year later he left this situation to attend Fichte's lectures, and to be near Schiller in Jena. The latter recognized in the young poet something of his own genius, and encouraged him by publishing some of his early writings in his periodicals _Die neue Thalia_ and _Die Horen_. In 1796 Holderlin obtained the post of tutor in the family of the banker J. F. Gontard in Frankfort-on-Main. For Gontard's beautiful and gifted wife, Susette, the "Diotima" of his _Hyperion_, he conceived a violent passion; and she became at once his inspiration and his ruin. At the end of two years, during which time the first volume of _Hyperion_ was published (1797), a crisis appears to have occurred in their relations, for the young poet suddenly left Frankfort. In spite of ill-health, he now completed _Hyperion_, the second volume of which appeared in 1799, and began a tragedy, _Der Tod des Empedokles_, a fragment of which is published among his works. His friends became alarmed at the alternate depression and nervous irritability from which he suffered, and he was induced to go to Switzerland, as tutor in a family at Hauptwill. There his health improved; and several of his poems, among which are _Der blinde Sanger_, _An die Hoffnung_ and _Dichtermut_, were written at this time. In 1801 he returned home to arrange for the publication of a volume of his poems; but, on the failure of this enterprise, he was obliged to accept a tutorship at Bordeaux. "Diotima" died a year later, in June 1802, and the news is supposed to have reached Holderlin shortly afterwards, for in the following month he suddenly left Bordeaux, and travelled homewards on foot through France, arriving at Nurtingen destitute and insane. Kind treatment gradually alleviated his condition, and in lucid intervals he occupied himself by writing verses and translating Greek plays. Two of these translations--the _Antigone_ and _Oedipus rex_ of Sophocles--appeared in 1804, and several of his short poems were published by Franz K. L. von Seckendorff in his _Musenalmanach_, 1807 and 1808. In 1804 Holderlin obtained the sinecure post of librarian to the landgrave Frederick V. of Hesse-Homburg, and went to live in Homburg under the supervision of friends; but two years later becoming irremediably but harmlessly insane, he was taken in the summer of 1807 to Tubingen, where he remained till his death on the 7th of June 1843.

Holderlin's writings are the production of a beautiful and sensitive mind; but they are intensely, almost morbidly, subjective, and they lack real human strength. Perhaps his strongest characteristic was his passion for Greece, the result of which was that he almost entirely discarded rhyme in favour of the ancient verse measures. His poems are all short pieces; of his tragedy only a fragment was written. _Hyperion, oder der Eremit in Griechenland_ (1797-1799), is a romance in letters, in which the stormy fervour of the "Sturm und Drang" is combined with a romantic enthusiasm for Greek antiquity. The interest centres not in the story, for the novel has little or none--Hyperion is a young Greek who takes part in the rising of his people against the Turks in 1770--but in its lyric subjectivity and the dithyrambic beauty of its language.

Holderlin's lyrics, _Lyrische Gedichte_, were edited by L. Uhland and
G. Schwab in 1826. A complete edition of his works, _Samtliche Werke_,
with a biography by C. T. Schwab, appeared in 1846; also _Dichtungen_
by K. Kostlin (Tubingen, 1884), and (the best edition) _Gesammelte
Dichtungen_ by B. Litzmann (2 vols., Stuttgart, 1897). For biography
and criticism, see C. C. T. Litzmann, _F. Holderlins Leben_ (Berlin,
1890), A. Wilbrandt, _Holderlin_ (2nd ed., Berlin, 1891), and C.
Muller, _Friedrich Holderlin, sein Leben und sein Dichten_ (Bremen,
1894).

HOLDERNESSE, EARL OF, an English title borne by Sir John Ramsay and later by the family of Darcy. John Ramsay (c. 1580-1626), a member of the Scottish family of Ramsay of Dalhousie, was knighted for his share in rescuing James VI. from the hands of John Ruthven, earl of Gowrie, in August 1600. In 1606 the king created him Viscount Haddington and Lord Ramsay of Barns, and in 1621 made him an English peer as earl of Holdernesse. Ramsay died without surviving issue in February 1626, when his titles became extinct. In 1644 Charles I. created his nephew, Prince Rupert, earl of Holdernesse, but when the prince died unmarried in November 1682 the earldom again became extinct. Conyers Darcy (1599-1689), who was made earl of Holdernesse in 1682 only a few days after the death of Rupert, was the son and heir of Conyers Darcy, Lord Darcy and Conyers (c. 1571-1654), and succeeded his father in these baronies in March 1654. He was succeeded as 2nd earl by his only son Conyers (c. 1620-1692), who was member of parliament for Yorkshire during the reign of Charles II. In his turn he was succeeded by his grandson Robert (1681-1722). Robert's only son, Robert Darcy, 4th earl of Holdernesse (1718-1778), was a diplomatist and a politician. From 1744 to 1746 he was ambassador at Venice and from 1749 to 1751 he represented his country at the Hague. In 1751 he became one of the secretaries of state, and he remained in office until March 1761, when he was dismissed by George III. From 1771 to 1776 he acted as governor to two of the king's sons, a "solemn phantom" as Horace Walpole calls him. He left no sons, and all his titles became extinct except the barony of Conyers, which had been created by writ in 1509 in favour of his ancestor Sir William Conyers (d. 1525). This descended to his only daughter Amelia (1754-1784), the wife of Francis Osborne, afterwards 5th duke of Leeds, and when the 7th duke of Leeds died in 1859 it passed to his nephew, Sackville George Lane-Fox (1827-1888), falling into abeyance on his death. Hornby castle in Yorkshire, now the principal seat of the dukes of Leeds, came to them through marriage of the 5th duke with the heiress of the families of Conyers and of Darcy.

HOLDHEIM, SAMUEL (1806-1860), Jewish rabbi, a leader of reform in the German Synagogue, was born in Posen in 1806 and died in Berlin in 1860. In 1836 he was appointed rabbi at Frankfort-on-the-Oder, in 1840 he was transferred to the rabbinate of Mecklenburg-Schwerin. He then became prominent as an advocate on the one hand of religious freedom (much trammelled at the time by Prussian state laws) and on the other of reform within the Jewish community. Various rabbinical conferences were held, at Brunswick (1844), Frankfort-on-the-Main (1845) and Breslau (1846). At all of these Holdheim was a strong supporter of the policy of modifying ritual (especially with regard to Sabbath observance, marriage laws and liturgical customs). In 1846 he was chosen Rabbi of the new Berlin congregation and there exercised considerable influence on the course of Jewish reform.

See I. H. Ritter in the _Jewish Quarterly Review_, i. 202. The same
authority has written the life of Holdheim in vol. iii. of his
_Geschichte der judischen Reformation_ (Berlin, 1865). Graetz in his
_History_ passes an unfavourable judgment on Holdheim, and there were
admittedly grounds for opposition to Holdheim's attitude. A moderate
criticism is contained in Dr D. Philipson's _History of the Reform
Movement_ in Judaism (London, 1906).

HOLGUIN, a town of the high plateau country in the interior of Oriente province, Cuba, about 65 m. N.W. of Santiago de Cuba. Pop. (1907) 7592. The town is near the Maranon and Jigue rivers, on a plain from which hills rise on all sides except the E., on which side it is open to the winds of the plateau. Holguin was long the principal acclimatization station for Spanish troops. The oldest public buildings are two churches built in 1800 and 1809 respectively. Holguin has trade in cabinet woods, tobacco, Indian corn and cattle products, which it exports through its port Gibara, about 25 m. N.N.E., with which it is connected by railway. Holguin was settled about 1720 and became a _ciudad_ (city) in 1751. In the Ten Years' War of 1868-78 and in the revolution of 1895-98 Holguin was an insurgent centre.

HOLIDAY, originally the "holy day," a festival set apart for religious observances as a memorial of some sacred event or sacred person; hence a day on which the ordinary work or business ceases. For the religious sense see FEASTS AND FESTIVALS, and SUNDAY. Apart from the use of the term for a single day of rest or enjoyment, it is commonly used in the plural for a recognized and regular period (as at schools, &c.) of absence from work. It is unnecessary here to deal with what may be regarded as private holidays, which are matters of agreement between employer and employed or between the authorities of this or that institution and those who attend it. In recent years there has been a notable tendency in most occupations to shorten the hours of labour, and make holidays more regular. It will suffice to deal here with public holidays, the observance of which is prescribed by the state. In one respect these have been diminished, in so far as saints' days are no longer regarded as entailing non-attendance at the government offices in England, as was the case at the beginning of the 19th century. But while the influence of religion in determining such holidays has waned, the importance of making some compulsory provision for social recreation has made itself felt. In England four days, known as Bank Holidays (q.v.), are set apart by statute to be observed as general holidays, while the sovereign may by proclamation appoint any day to be similarly observed. Endeavours have been made from time to time to get additional days recognized as general holidays, such as Empire Day (May 24th), Arbor Day, &c. In the British colonies there is no uniform practice. In Canada eight days are generally observed as public holidays: New Year's Day, Good Friday, Easter Monday, Christmas Day, the birthday of the sovereign, Victoria Day, Dominion Day and Labour Day. Some of the provinces have followed the American example by adding an Arbor Day. Alberta and Saskatchewan observe Ash Wednesday. In Quebec, where the majority of the population is Roman Catholic, the holy days are also holidays, namely, the Festival of the Epiphany, Ash Wednesday, Good Friday, Easter Monday, the Ascension, All Saint's Day, Conception Day, Christmas Day. In 1897 Labour Day was added. In New South Wales, the 1st of January, Good Friday, Easter Eve, Easter Monday, the birthday of the sovereign, the 1st of August, the birthday of the prince of Wales, Christmas Day and the 26th of December, are observed as holidays. In Victoria there are thirteen public holidays during the year, and in Queensland fourteen. In New Zealand the public holidays are confined to four, Christmas Day, New Year's Day, Good Friday and Labour Day. In most of the other British colonies the usual number of public holidays is from six to eight.

In the United States there is no legal holiday in the sense of the English bank holidays. A legal holiday is dependent upon state and territorial legislation. It is usual for the president to proclaim the last Thursday in November as a day of thanksgiving; this makes it only a legal holiday in the District of Columbia, and in the territories, but most states make it a general holiday. Independence Day (July 4th) and Labour Day (first Monday in September) are legal holidays in most states. There are other days which, in connexion with particular events or in remembrance of particular persons, have been made legal holidays by particular states. For example, Lincoln's birthday, Washington's birthday, Memorial Day (May 30th), Patriots' Day (April 19th, Maine and Mass.), R. E. Lee's birthday (Jan. 19th, Ala., Fla., Ga., Va.), Pioneers' Day (July 24th, Utah), Colorado Day (Aug. 1st), Battle of New Orleans (Jan. 8th, La.), Bennington Battle Day (Aug. 16th, Vt.), Defender's Day (Sept, 12th, Md.), Arbor Day (April 22nd, Nebraska; second Friday in May R.I., &c.), Admission Day (September 9th, Cal.; Oct. 31st, Nev.), Confederate Memorial Day (April 26th, Ala., Fla., Ga., Miss., May 10th, N. & S. Car., June 3rd, La., Miss., Texas), &c.

See M'Curdy, _Bibliography of Articles relating to Holidays_ (Boston,
1905). (T. A. I.)

HOLINSHED (or HOLLINGSHEAD), RAPHAEL (d. c. 1580), English chronicler, belonged probably to a Cheshire family, and according to Anthony Wood was educated at one of the English universities, afterwards becoming a "minister of God's Word." The authenticity of these facts is doubtful, although it is possible that Raphael was the Holinshed who matriculated from Christ's College, Cambridge, in 1544. About 1560 he came to London and was employed as a translator by Reginald or Reyner Wolfe, to whom he says he was "singularly beholden." Wolfe was already engaged in the preparation of a universal history, and Holinshed worked for some years on this undertaking; but after Wolfe's death in 1573 the scope of the work was abridged, and it appeared in 1578 as the _Chronicles of England, Scotland, and Ireland_. The work was in two volumes, which were illustrated, and although Holinshed did a great deal of the work he received valuable assistance from William Harrison (1534-1593) and others, while the part dealing with the history of Scotland is mainly a translation of Hector Boece's _Scotorum historiae_. Afterwards, as is shown by his will, Holinshed served as steward to Thomas Burdet of Bramcott, Warwickshire, and died about 1580.

A second edition of the _Chronicles_, enlarged and improved but
without illustrations, which appeared in 1587, contained statements
which were offensive to Queen Elizabeth and her advisers, and
immediately after publication some of the pages were excised by order
of the privy council. These excisions were published separately in
1723. An edition of the _Chronicles_, in accordance with the original
text, was published in six volumes in 1808. The work contains a large
amount of information, and shows that its compilers were men of great
industry; but its chief interest lies in the fact that it was largely
used by Shakespeare and other Elizabethan dramatists; Shakespeare, who
probably used the edition of 1587, obtaining from the _Chronicles_
material for most of his historical plays, and also for _Macbeth_,
_King Lear_ and part of _Cymbeline_. A single manuscript by Holinshed
is known to be extant. This is a translation of Florence of Worcester,
and is in the British Museum. See W. G. Boswell-Stone, _Shakspere's
Holinshed_. _The Chronicle and the historical plays compared_ (London,
1896).

HOLKAR, the family name of the Mahratta ruler of Indore (q.v.), which has been adopted as a dynastic title. The termination -_kar_ implies that the founder of the family came from the village of Hol near Poona.

HOLL, FRANK (1845-1888), English painter, was born in London on the 4th of July 1845, and was educated chiefly at University College School. He was a grandson of William Holl, an engraver of note, and the son of Francis Holl, A.R.A., another engraver, whose profession he originally intended to follow. Entering the Royal Academy schools as a probationer in painting in 1860, he rapidly progressed, winning silver and gold medals, and making his debut as an exhibitor in 1864 with "A Portrait," and "Turned out of Church," a subject picture. "A Fern Gatherer" (1865); "The Ordeal" (1866); "Convalescent" (the somewhat grim pathos of which attracted much attention), and "Faces in the Fire" (1867), succeeded. Holl gained the travelling studentship in 1868; the successful work was characteristic of the young painter's mood, being "The Lord gave, and the Lord hath taken away." His insatiable zeal for work of all kinds began early to undermine the artist's health, but his position was assured by the studentship picture, which created a sort of _furore_, although, as with most of his works, the blackness of its coloration, probably due to his training as an engraver, was even more decidedly against it than the sadness of its theme. Otherwise, this painting exhibited nearly all the best technical qualities to which he ever attained, except high finish and clearness, and a very sincere vein of pathos. Holl was much below Millais In portraiture, and far inferior In all the higher ways of design; in technical resources, relatively speaking, he was but scantily provided. The range of his studies and the manner of his painting were narrower than those of Josef Israels, with whom, except as a portrait-painter, he may better be compared than with Millais. In 1870 he painted "Better is a Dinner of Herbs where Love is, than a Stalled Ox and Hatred therewith"; "No Tidings from the Sea," a scene in a fisherman's cottage, in 1871--a story told with breath-catching pathos and power; "I am the Resurrection and the Life" (1872); "Leaving Home" (1873), "Deserted" (1874), both of which had great success; "Her First-born," girls carrying a baby to the grave (1876); and "Going Home" (1877). In 1877 he painted the two pictures "Hush" and "Hushed." "Newgate, Committed for Trial," a very sad and telling piece, first attested the breaking down of the painter's health in 1878. In this year he was elected A.R.A., and exhibited "The Gifts of the Fairies," "The Daughter of the House," "Absconded," and a very fine portrait of Samuel Cousins, the mezzotint engraver. This last canvas is a masterpiece, and deserved the success which attended the print engraved from it. Holl was overwhelmed with commissions, which he would not decline. The consequences of this strain upon a constitution which was never strong were more or less, though unequally, manifest in "Ordered to the Front," a soldier's departure (1880); "Home Again," its sequel, in 1883 (after which he was made R.A.). In 1886 he produced a portrait of Millais as his diploma work, but his health rapidly declined and he died at Hampstead, on the 31st of July 1888. Holl's better portraits, being of men of rare importance, attest the commanding position he occupied in the branch of art he so unflinchingly followed. They include likenesses of Lord Roberts, painted for queen Victoria (1882); the prince of Wales, Lord Dufferin, the duke of Cleveland (1885); Lord Overstone, Mr Bright, Mr Gladstone, Mr Chamberlain, Sir J. Tenniel, Earl Spencer, Viscount Cranbrook, and a score of other important subjects. (F. G. S.)

HOLLAND, CHARLES (1733-1769), English actor, was born in Chiswick, the son of a baker. He made his first appearance on the stage in the title role of _Oroonoko_ at Drury Lane in 1755, John Palmer, Richard Yates and Mrs Cibber being in the cast. He played under Garrick, and was the original Florizel in the latter's adaptation of Shakespeare's _Winter's Tale_. Garrick thought highly of him, and wrote a eulogistic epitaph for his monument in Chiswick church.

His nephew, Charles Holland (1768-1849) was also an actor, who played with Mrs Siddons and Kean.