HOGARTH 



2807 



HOLBEIN 



and the skin makes a very tough, durable 

 leather. W.F.Z. 



Consult Day's Productive Swine Husbandry; 

 Dawson's The Hog Book; Craig's Diseases of 

 Swine. 



HO 'GARTH, WILLIAM (1697-1764), the great- 

 est English pictorial satirist, whose powers of 

 invention and combination were extraordinary. 

 His faculty for presenting the vices and follies 

 of his time is best seen in his masterpiece, Mar- 

 riage a la Mode, a series of six pictures now 

 in the National Gallery in London. Other 

 series of paintings along like lines are The 

 Harlot's Progress and A Rake's Progress. His 

 Industry and Idleness, the best known of his 

 series of engravings, consists of twelve plates. 

 He made many designs of engravings, the most 

 important of which were Masquerades and 

 Operas and illustrations for Butler's Hudibras. 

 He was also successful in portraits, the most 

 popular being one of himself and his pug dog 

 "Trump." Many of his works are now pre- 

 served in public and private collections in Eng- 

 land. Hogarth was born in London, and began 

 his career as a silversmith. 



HOGSHEAD, hogs' hed, a large barrel or cask 

 for holding various substances, its unit of 

 capacity varying with the contents. In the 

 United States it is equivalent to sixty-three 

 American gallons, or 52.485 imperial gallons. 

 For tobacco, its weight varies from 750 pounds 

 to 1,200 pounds in the different states. In 1483 

 a statute enacted by Richard III fixed the 

 hogshead of wine at sixty-three wine gallons 

 or 52 1 / imperial gallons. The London hogs- 

 head of ale was forty-eight ale gallons. The 

 term hogshead probably arose from the fact 

 that the head of an ox was branded on the 

 cask and the name was rightfully oxhead, be- 

 ing corrupted into the present form. It is now 

 seldom used as a measure of capacity. 



HOHENSTAUFEN, ho en shtou' fen, a 

 princely family which held possession of the 

 German Imperial throne from 1138 to 1254. It 

 descended from Frederick of Buren, who lived 

 in the second half of the eleventh century, and 

 whose son, Frederick of Stauffen, built the 

 castle from which the dynasty derived its name 

 and some remains of which are still to be 

 seen. Beginning with Conrad III, who suc- 

 ceeded Lothair of Saxony, the House of 

 Hohenstaufen furnished many German rulers, 

 including Frederick I, Henry VI, Otho IV, 

 Frederick II and Conradin, the last of the line, 

 whose execution in 1254 ended the Hohen- 

 staufen rule. The emperors of this dynasty 



rank among the ablest rulers of Germany ; their 

 fame rests upon their political greatness, their 

 success as organizers and the encouragement 

 they gave to science, art, commerce and trade. 

 See GERMANY, subtitle History. 



HOHENZOLLERN, ho en tsohl' ern, the fam- 

 ily name of the royal house of Prussia and 

 of the present king of Prussia and emperor 

 of Germany, in the person of William II. It 

 is derived from the ancestral castle Zollern, 

 or Hohenzollern, in Swabia. The origin of the 

 House is obscure, the story of its supposed 

 descent from one Count Thassilo being legend- 

 ary. From a petty princely family in the 

 beginning of the twelfth century it developed 

 into a powerful dynasty, and has continued 

 without interruption to the present day to 

 rule over Brandenburg, furnishing Prussia with 

 its kings since 1701, and Germany with its 

 three emperors since the foundation of the 

 empire in 1871. The history of the Hohen- 

 zollern family from the fifteenth century is that 

 of Brandenburg, Prussia and Germany. (See 

 each of these titles.) 



HOLBEIN, hohl'bine, the name of a family 

 of celebrated German painters who lived at 

 Augsburg and Basel from the close of the fif- 

 teenth century to the middle of the sixteenth. 



Hans Holbein, the Elder (1460-1524), is best 

 known for his The Basilica of Saint Paul and a 

 Passion, in eleven pieces, now in the Augsburg 

 gallery. Little is known of his life, but he 

 left many works which prove his skill. His 

 style is founded on the models of the early 

 Flemish school, although his later works show 

 traces of Italian influence. Among the best 

 known of the latter are Life of Saint Paul, 

 Martyrdom of Saint Sebastian and Fountain 

 of Life. 



Hans Holbein, the Younger (1497-1543), is 

 seen at his best in a great series of portraits 

 of the most eminent Englishmen of his time. 

 In early youth he was taught by his father. 

 Later he spent much time in Basel, where he 

 devoted himself to religious pictures. To this 

 period belong his famous Madonna and Child 

 with Saint Ursus and Saint Martin of Tours 

 and his Madonna of the Burgomaster Meier. 

 Here he also designed twenty alphabets of 

 richly-ornamental letters and over 300 wood- 

 cuts; his notable series of The Dance of Death 

 and the Old Testament Cuts were not issued 

 until some time later. In 1526 he went to 

 England, and there was introduced by Erasmus 

 to Sir Thomas More, then in high favor with 

 Henry VIII. This paved the way later to 



