lower incisors project forward, and the canines, even the upper, curve upward. The feet are 4toed, the 2 anterior or intermediate toes being the largest, and the 2 lateral or posterior scarcely if at all touching the ground. The utility of the hog as an article of food is in great measure owing to the remarkable fecundity of the animal in all climates except the polar; capable of reproduction at about a year old, and producing from 8 to 12 and even more at a birth twice every year, the supply will always be equal to the demand. Vauban has estimated the product of a single sow, with only 6 young at a time, in 10 generations to be about 6,500,000, of which 500,000 may be deducted on account of accidental death. The ease with which the animal is raised renders it advantageous property for the poorest classes. The hog was highly esteemed by the ancients, and was the animal sacrificed to Ceres, the goddess of the harvest; in Rome under the emperors the art of cooking its flesh was practised in the most luxurious and costly dishes, and in a manner equally cruel and disgusting. In hot climates, as in Egypt, pork is not considered wholesome, and accordingly the legislators and priests of that country forbade its consumption as a sanitary measure; the Jewish and Moslem lawgivers also prohibited it, and these sects abstain from its flesh even in cold climates, where it might be used with safety. Pork, however, is generally so charged with fat, and so apt to be the matrix of entozoa, that it is ranked among the least desirable meats, and especially to be avoided by persons of delicate stomachs. The alleged special connection between scrofula and the use of pork for food rests upon no good foundation, as this disease may and does originate from totally different causes. The filthy habits of the hog are in great measure due to its domestication; the wild hog is cleanly, and selects its food chiefly from vegetable substances; the domesticated hog is kept in a small pen, fed upon the most disgusting food, and is regarded as much an instrument for converting filth into compost as an animal for the preparation of wholesome meat. The hog has the propensity to wallow in the mire common to all pachyderms, and generally for the purpose of ridding itself of vermin, or of protecting its thinly covered skin from the attacks of insects; the wild boar in this respect is no more dirty than the elephant, the rhinoceros, and the hippopotamus.-The hog occupies so prominent a place in domestic economy, commerce, and the arts, that it may be well to mention those generally considered the best varieties. In 1856 the whole number of swine in the United States was estimated at 40,000,000, of the estimated value, at $7 a head, of $280,000,000. If this animal, whose flesh, fat, hair, and bones are so valuable, can be improved even to the amount of $1 for every animal, an immense sum will be realized to the farmer. Swine were probably introduced from Spain into Hispaniola by Columbus in 1493, into Florida by De Soto in 1538, into Nova VOL. IX.-15

Scotia and Newfoundland in 1553, into Canada in 1608, and into Virginia in 1609, where they multiplied so rapidly that in 18 years the people were obliged to palisade Jamestown to keep them out. Different breeds are prized in different districts, according to the fancy of producers, the facility of raising them, and the particular object of the farmer. The Chinese hogs, both the white and black varieties, are easily fattened, and have small bones; indeed they are generally too fat to be esteemed as pork, and are considered to make poor bacon; bred carefully, and mixed with other stocks, they are valuable animals. The Neapolitan is the most celebrated of the Italian breeds, doubtless descended from the improved varieties of ancient Rome, and the stock of most of the English breeds; though not very hardy, the flesh is of superior quality; it is small, black, with few bristles, short snout, erect ears, and small bones; crossed with the Berkshire breed, the form is improved and the constitution hardened, with a remarkable tendency to fatten easily. The Berkshire, an English breed, black or white, is larger than the Neapolitan, with more bristles, and less fat to the meat, which is well suited for bacon and hams; this was formerly preferred above all others in many parts of New England, but its cross with the Chinese is more profitable, as the weight is heavier with light feeding, and the disposition milder. The Essex, crossed with the Neapolitan, is one of the most valuable, and has taken more prizes in England than any other breed; it is black, of good size and symmetry, mild disposition, easily fattened, the meat of excellent quality, and the dressed weight at 12 and 18 months 250 to 400 lbs.; it is not subject to cutaneous diseases. The Irish grazier is slow in coming to maturity, but crossed with the Berkshire is an excellent variety. The Woburn or Bedford breed was originally sent by the duke of Bedford to Gen. Washington, and was produced at Woburn, England, by a cross of the Chinese boar and a large English hog; when pure they are white, with dark ash-colored spots; they are of large size, with deep round bodies, short legs, and thin hair, easily kept and maturing early. The Middlesex is a popular breed in England, and has been considerably imported into the United States; it is derived from a mixture of the Chinese with some larger stock; the color is usually white, and the size larger than the Suffolk, weighing at 18 months 800 to 900 lbs.; the bones are smaller than in the Essex. But the favorite of all breeds seems now to be the Suffolk, so named from that county in England, whence the London market has long been supplied; the present breed is believed to have originated from the old Suffolk crossed with the Chinese and Berkshire; the pure breed is remarkably symmetri cal, small and compact, short-legged and smallheaded, the exact opposite of the long, lank, and lean hogs of the western prairies; their early maturity, small consumption of food, and tendency to fat, compensate for their want of

size; the color is white. These are the most esteemed varieties; there are many others, imported and domestic, which thrive well in peculiar districts, and which are more or less extolled by their respective fanciers. While hogs are kept in New England and the middle states mostly in pens, in the West they are allowed to range in the woods and fields till within 3 months of the time of killing them, feeding upon clover, corn, acorns, and mast.-No animal displays the changes arising from domestication more than the hog, as may be seen by contrasting the large, savage, long-legged wild boar, leading dogs and horses a weary chase, with the small, docile, plump, short-legged Suffolk, with difficulty getting from one side of his pen to the other. It is not probable that all the varieties of the hog are derived from the wild boar of Europe and Asia; the Polynesian species, the African, and perhaps the babyroussa, have become crossed with introduced breeds, causing the same variety and confusion observed in all domesticated animals; the reasons for not of necessity referring these to a single origin have been given in the article DoG. The hog is not a stupid animal; like other pachyderms it is susceptible of education, and the stories of learned pigs and hunting hogs do no discredit to the order which contains the elephant.-Several species of fossil hogs, of the genus sus, are found in the tertiary and diluvial deposits of central Europe; the fossil hogs seem to have been, like the present animal, charged with fat; the teeth are the portions generally met with, as the bones from their spongy character would soon decay. Allied species are also found in the same formations in India.

HOGAN, JOHN, an Irish sculptor, born in Tallow, co. of Waterford, in Oct. 1800, died in Dublin, March 27, 1858. Originally a lawyer's clerk, he showed so decided a taste for sculpture, that at the age of 23 he was enabled by the liberality of some friends to visit Rome for the purpose of study. His "Drunken Faun," one of his most original conceptions, was pronounced by Thorwaldsen worthy of an Athenian studio. His whole artistic career was passed in Ireland, and his works are chiefly religious subjects and monumental.

HOGARTH, GEORGE, a British author and musician, born in Scotland about 1796. In early life he was a writer to the signet in Edinburgh, but went to London as a musical critic and author. In 1835 he published his "Musical History, Biography, and Criticism," and in 1838 "Memoirs of the Musical Drama," of which an abridged edition, under the title of "Memoirs of the Opera-Italy, France, Germany, and England," appeared in 1851. He has published some other miscellaneous works on music, and has been a frequent contributor to the daily press on musical topics. On the establishment of the "London Daily News" by his son-in-law, Charles Dickens, he became its musical critic. His writings are considered standard authorities on the subjects of which they treat.

HOGARTH, or more properly HOGART, WILLIAM, the great satirical painter of England, born in London, Nov. 20, 1697, or according to some authorities in 1698, died Oct. 26, 1764. His father, the son of a Westmoreland yeoman, and by profession a teacher and an occasional corrector of the press, could do little more for him than "put him in the way of shifting for himself." His education, therefore, was scanty; but his early taste for design was evinced in the number and variety of the ornaments with which his school books were adorned, and which he tells us were more remarkable than the exercises themselves. In due time he was apprenticed to a silversmith named Gamble, and, in the intervals of his labors in engraving arms and ciphers, gradually acquired a knowledge of drawing from nature. At 20 years of age engraving on copper was his utmost ambition. The first indication of the direction his talents were to take was given in a humorous illustration of a pot-house brawl, of which he was a witness. Upon the expiration of his apprenticeship in 1718 he attended the lectures of Sir James Thornhill, sergeant painter to the king, and drew from the life at the academy in St. Martin's lane, without, however, attaining any great proficiency. His first employment seems to have been the engraving of shop bills and arms, after which he furnished frontispieces and sets of plates for books, of which his illustrations of "Hudibras" afford a familiar but not very felicitous example, as he was always more successful in illustrating his own ideas than those of others. Having meanwhile acquired some facility in painting, he endeavored to find employment in painting portraits, a branch of his art in which, notwithstanding his avowed contempt for it, he might have attained eminence had he chosen. Thus struggling on, and always contriving, as he tells us, to be “ a prompt paymaster," he ventured in 1730 upon a "stolen union" with the daughter of his former master, Sir James Thornhill, which at first proved very unpalatable to the court painter; but when his son-in-law began to gain distinction Sir James became reconciled to the young couple, with whom he lived in amity until his death. Shortly after his marriage Hogarth adopted portrait painting as a profession, and also commenced what he called "small conversation pieces," in which the figures were drawn from the life, and often in humorous attitudes, though not burlesques. From this class of subjects he naturally proceeded to those more earnest scenes of daily life on which his fame rests. In 1734 appeared the 6 prints of the "Harlot's Progress, designed and engraved by himself, and the artist at once became famous. Upward of 1,200 subscribers entered their names for the series, of which 8 piratical imitations almost immediately appeared, to the detriment of the painter, who in 1735 procured the passage of an act of parliament securing to an engraver the copyright of his plates for 14 years. Recognizing by the applause which greeted these works his true

99.66

path to fortune, he renounced portrait painting, and followed up his success by the "Rake's Progress," "Industry and Idleness," Marriage à la Mode," the "Four Times of the Day," the "Four Stages of Cruelty," "Beer Lane" and "Gin Lane," and other works, in series or single, which were engraved by himself, and were produced at regular intervals until the close of his life. Appearing at a time when the national efforts in art were few and feeble, they won a popularity which has perhaps increased with time, and to which that of no contemporary artist can be compared. To the last he retained his wonderful powers, and a careful comparison of all his works will show no lack of invention or satiric humor in any of them. Like many men of genius, however, Hogarth had his foibles, and among them was the impression, which his reputation as a satirist could never shake, that the highest branch of the art, historical painting, was his true vocation. He railed at the old masters, especially deriding the pretensions of connoisseurs and the popular estimates of the value of old pictures, and with a self-confidence almost ludicrous undertook to show that no preliminary training was necessary to produce a good historical painting. The result was his "Paul before Felix," the "Pool of Bethesda," and some other works executed at the outset of his career; and "Sigismunda," painted in 1759, in competition with a picture on the same subject by Correggio, and in direct illustration of his principle. In all these, notwithstanding some points of excellence, it is easy to see that the artist is treading on unfamiliar ground. The ridicule which the last mentioned picture encountered equalled that bestowed upon his "Analysis of Beauty" (4to., London, 1753), the leading principle of which is that a curved line, in shape somewhat like the letter S, is the foundation of all beauty. But Hogarth preserved his equanimity unmoved until his unhappy quarrel in 1762 with Wilkes and Churchill, which he seems to have provoked by a print, entitled "The Times," indirectly ridiculing Wilkes and the opponents of the ministry. Wilkes replied in a strain of coarse abuse in the 17th number of the "North Briton," and Churchill in a poetical epistle lashed the painter, and more particularly "Sigismunda," with all his strong powers of satire. Hogarth revenged himself upon his opponents with his pencil, depicting the former simply in his natural ugliness, with a Satanic leer which the demagogue could not but acknowledge was genuine, and the latter as a canonical bear holding a pot of porter and hugging a knotted club. Never," says Walpole, "did angry men of their abilities throw mud with less dexterity." The controversy, however, affected Hogarth's health and spirits, and probably hastened his death. It was long the fashion to assign to Hogarth's works no higher merit than that of clever caricatures; and his contemporaries certainly had an interest in attempting to depreciate an artist whose genius so far tran

66

66

scended their own. But posterity has elevated the painter "that saw the manners in the face" to a position which few others of his class or country have occupied. The greater part of his pictures, notwithstanding the broad touches of humor by which they are relieved, are in no respect caricatures in the present sense of the term, but strong and masculine satires, in which the vices of a corrupt age are drawn with a relentless keenness analogous to that of Juvenal. Some of the most masterly, like the series of Marriage à la Mode," the "Rake's Progress," or the "Harlot's Progress," have even been called epical from their development of story, manners, character, and passion; and all of them are strictly historical, and therefore of high value, as representations of the manners of the age. In the words of Thackeray: "We look, and we see pass before us the England of a hundred years ago." Every rank in life and almost every pursuit; the frivolous dissipations of the rich, the vices and debaucheries of the poor; the dress, manners, habits, and even the thoughts of the time; the streets, squares, and buildings of London at all times of the day and of the year-all are reproduced with a minuteness and fidelity that rival the photographer's art. The moral which many of Hogarth's works are designed to inculcate is as simple and downright as his character. A man of sturdy independence and great determination, plain-spoken, jovial, and kindly and brimful of national prejudices, among which contempt of Frenchmen and every thing foreign predominated, he presents a true type of the old-fashioned Englishman, and reflects in every picture his hearty English nature. Such a man could never risk the possibility of a doubt as to his meaning, but came to the point at once. Hence the characteristic of his satire is strength rather than delicacy, and we must seek for the peculiar evidences of his genius in the keen observation, the accumulation of minute and appropriate circumstances, the humor and the broad human nature which his works reveal. Their technical merits, the composition alone excepted, in which it is safe to say he has scarcely been approached, have been the subject of much unfavorable comment, and Walpole, adopting the prejudice of the time, has ventured to declare that Hogarth was no painter. So much indeed did he suffer under this imputation, that his profits were derived solely from the sale of his engravings, while the original pictures had to be disposed of by lotteries or otherwise for insignificant sums. It is a striking commentary upon the taste of the age that the 6 pictures of "Marriage à la Mode" were sold in 1744 for £19 68., though 50 years afterward they brought £1,381. Modern critics, however, have declared that, with the single exception of the color, which Hogarth purposely subdued in order that the attention might not be diverted from his moral, these works are superior to most of the recent productions of English

painters. After the lapse of nearly a century from his death, the great painter of man and manners stands unapproached in his peculiar sphere-perhaps unapproachable; and posterity will willingly adopt the criticism of Charles Lamb: Other pictures we look at; his prints we read." Of the various editions of his works, the best is that published by the Boydells (atlas fol., London, 1790), the original plates of which, retouched by Heath and others, have been issued in 3 subsequent editions, that of Bohn (London, 1848) being the last. Another edition in atlas folio, containing Hogarth's works reengraved by Thomas Cook, was published in London in 1802, but is far inferior to that of the Boydells. The best 4to. edition is that edited by Nichols and Steevens (3 vols., London, 1808-'17), with letterpress illustrations. New editions of his works appeared recently in Leipsic and Stuttgart. The "Analysis of Beauty," in which he is said to have been assisted by Dr. Benjamin Hoadley and Dr. Morell, was reprinted in 1810; it has been translated into German, French, and Italian.

HOGG, JAMES, better known as the Ettrick Shepherd, a Scottish author and poet, born in the parish of Ettrick on the river of that name in Selkirkshire, Jan. 25, 1772 (according to his own statement, although the parish register records his baptism as having taken place Dec. 9, 1770), died Nov. 21, 1835. He was descended from a family of shepherds, and his youth and early manhood were devoted to the same occupation. He probably never received a year's schooling in the course of his life, but was fortunate in having a mother who loved the old ballads and border minstrelsy of Scotland, which she was in the habit of repeating to her children. These fastened upon his imagination, and while tending his flocks he imbibed at once a taste for poetry and the desire to become a poet. It was not until he was about 24 or 25 years of age that he began to compose verses, and his earliest efforts were seriously frustrated by his imperfect penmanship. He soon became known to the shepherds and farmers of the neighborhood as "Jamie the Poeter," and in 1800 a song of his entitled "Donald MacDonald," written under the apprehension of an invasion of the kingdom, obtained great popularity, although the name of the author was not known. From Whitsunday, 1790, to Whitsunday, 1799, he was in the employ of Mr. Laidlaw of Blackheath, who gave him free access to his library; and by the age of 30 Hogg had repaired the defects of his early education by a tolerably full course of reading. In 1801, while on a visit to Edinburgh to sell sheep, he was even tempted to publish a small collection of his songs, under the title of "Scottish Pastorals, Poems, and Songs." In the succeeding year Sir Walter Scott, while exploring the border counties for materials for his "Minstrelsy of the Scottish Border," met with Hogg, who furnished him with a number of old ballads, and in whom he manifested. a strong interest. It was at the instigation of

Scott that in 1807, to repair his losses in an attempt to start a sheep farm in the Hebrides, he published a second collection of poems entitled the "Mountain Bard," which brought him in several hundred pounds. With this sum he again attempted farming, was again unsuccessful, and in Feb. 1810, went to Edinburgh to follow the career of an author. For a year he barely supported himself by editing a weekly paper called the "Spy," and at the suggestion of his friends he set about a longer and more regular work than he had hitherto attempted. This was published in 1813 under the name of "The Queen's Wake," and at once obtained a popularity scarcely inferior to that of Scott's best metrical romances. It contains "Kilmeny," his most admired poem. Thenceforth his life was pretty equally devoted to literature and farming, the former being on the whole rather the more profitable occupation. By the kindness of the duke of Buccleugh he was presented with the rent-free life occupancy of the farm of Altrive Lake in the braes of Yarrow, where he might have lived prosperously had not ambition prompted him to rent a much larger farm adjoining, in attempting to manage which he was in a few years reduced to the verge of bankruptcy. He was all this time a frequent contrib utor to "Blackwood's Magazine," and the broadly drawn character of the "Ettrick Shepherd," which figures so prominently in the Noctes Ambrosiana, contributed to the magazine by Wilson and others, made his name familiar to all parts of Great Britain and the United States. Hogg was at first rather disconcerted at the liberties taken with him by his friends in these papers, but finally relished the joke as much as any one. In 1831 he went to London to superintend the publication of some of his works, and was lionized in a style to which few liter ary men are accustomed. The public thought that a second Burns had descended from the Scottish hills, and the poet was engaged to ban quets and entertainments weeks in advance, and often to three a day. He died, after a short illness, of dropsy, universally lamented. Among his principal works, in addition to those mentioned, are the poems of "Madoc of the Moor," the "Pilgrims of the Sun," "Queen Hynde," "Jacobite Relics," &c.; in prose, "The Brownie of Bodsbeck," "Winter Evening Tales," "The Three Perils of Woman," "The Three Perils of Man," the "Altrive Tales," &c.

HOGSHEAD, an old English measure of capacity of 63 wine gallons. For ale, beer, and claret, it possessed in Great Britain different values. For liquids it is in the United States the same as the English wine hogshead. When used for tobacco, the Kentucky, Missouri, and Virginia hogshead contains a mean net weight of 1,200 lbs., that of Maryland 800 lbs., and of Ohio 750 lbs.

HOGUE, LA. See CAPE LA HAGUE.

HOHENLINDEN, a village of Bavaria, in the circle of Upper Bavaria, 20 m. E. of Munich, memorable for a battle, Dec. 3. 1800, between

the French under Moreau and the Austrians under the archduke John. The village stands on the skirt of a thick wood, through which runs the road from Munich to Mühldorf. Moreau, having ascertained that the Austrians were advancing upon this road in the direction of Munich, disposed his forces along the edge of the wood on the Munich side, and sent Richepanse with a detachment to fall upon the enemy's flank while entangled in the forest. When the imperialists, anticipating no resistance, reached the point where the road emerges upon the open plain, the head of their column was attacked by Grouchy's division, and a desperate conflict took place, the Austrians endeavoring to debouch from the defile and extend themselves along the front of the wood, and the French striving to force them back. The snow fell so thickly that the hostile armies could not see each other, and the firing of each was directed by the flash from the guns of the opposite party. Meanwhile the division of Richepanse was intercepted by the right wing of the Austrians, which was advancing through the forest by another road, and was divided into two parts. The van, however, pressed on, and falling upon the main body of the Austrians while the struggle with Grouchy's regiments was still going on, completed their discomfiture. The imperialists were routed with terrible loss, and all their artillery fell into the hands of the victors. The Austrian right wing, which had emerged from the wood and was engaged against Grenier's division with not a little prospect of victory, retreated at the news of the overthrow of the main body, and was almost cut to pieces in the defile. The rear of Richepanse's division had continued to maintain itself against superior numbers, and was now rescued by its victorious comrades. By night the French had driven their enemy through the forest at all points, and compelled them, after losing 14,000 men and 100 pieces of cannon, to withdraw across the Inn. About 65,000 men were engaged on each side. The moral effect of this victory, the most decisive except that of Rivoli which either party had gained during the war, was still more disastrous to Austria than the actual loss which she suffered. It left her army without resources, and after one or two less important engagements an armistice was agreed upon three weeks afterward.

HOHENLOHE-WALDENBURG-SCHILLINGSFURST, ALEXANDER LEOPOLD FRANCIS EMMERICH, prince of, a Hungarian prelate, born in Kupferzell, near Waldenburg, Aug. 17, 1793, died Nov. 14, 1849. Having resolved, contrary to the wishes of his family, to enter the church, he studied theology at Vienna, Tyrnau, and Ellwangen, was ordained priest in 1815, and, after two years spent in the exercise of his functions at Stuttgart and Munich, visited Rome, performing before his return a pilgrimage to Loretto. In 1817 he was made ecclesiastical counsellor to the vicar-general of Bamberg, in 1824 canon of the chapter of Grosswardein, in

...

1829 provost of the same body, and in 1844 bishop of Sardica in partibus infidelium. In June, 1821, having been cured of a malady, as he supposed, through the prayers of a devout peasant named Martin Michel, he was induced to try the same means for the cure of the princess of Schwarzenberg, who was a paralytic. Having introduced Martin Michel into her presence, he instructed her to join him in prayer and faith. "The prayer finished," wrote the prince in his memoirs, "I felt, I never could explain how, something like a secret impulse which made me cry out to the princess: In the name of Jesus Christ, arise and walk. . . . The princess was able not only to stand, which she had not done before for 8 years, but to walk." The fame of this reputed miracle soon spread all over Europe, and Prince Hohenlohe was constantly beset by sufferers under every sort of infirmity. He usually answered their applications through his secretary, instructing them to perform some special devotions, such as a retreat or a novena, to have strong faith, and at a certain day and hour to join in prayers which he would then offer for their recovery. The most extraordinary cures are alleged to have taken place under these circumstances, always at the appointed hour. Many were reported in Great Britain and Ireland, and some in the United States. The case of Mrs. Ann Mattingly of Washington, D. C., who was said to have miraculously recovered of a tumor, March 10, 1824, in consequence of the prayers of Prince Hohenlohe, caused at the time a considerable excitement. The alleged miracles were regarded by Protestants as deceptions, but the Roman Catholics have generally believed them genuine, although they were not formally sanctioned by the pope. A biographer of Prince Hohenlohe relates that during the last year of his life 18,000 sick persons came to him for relief. He left several works, chiefly on the manner and efficacy of prayer, a defence of himself against the "Weimar Journal," and his Mémoires et expériences (8vo., Paris, 1835).

HOHENSTAUFEN, the name of a German family of princes, which ruled the German empire, with short interruptions, from 1138 to 1254. The name is derived from a castle on Mount Staufen in Würtemberg, built by Frederic of Büren, one of the ancestors of the family. His son, known as Frederic of Staufen, was a stanch adherent of the emperor Henry IV. during his long struggles with the see of Rome and various rivals in Germany, and after the battle of Merseburg received the hand of his daughter Agnes, and the duchy of Swabia. This sudden elevation of the house, which from another possession in Swabia, Waiblingen, was also called Ghibelline, was the origin of its long struggle with the mighty rival family of the Guelphs. Of Frederic's two sons, Frederic II., the Oneeyed, was confirmed by Henry V., the son and successor of Henry IV., in the possession of Swabia, while Conrad received Franconia. After the death of Henry, Conrad and Lothaire