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This work will always stand in the first rank of botanical books. by the elimination of the provisions inconsistent with loyalty It antedated the Origin of Species by eight years, but contained to the British crown. But it remained an organization for facts and comparisons which could only become intelligible on obtaining the political supremacy of the Cape Dutch. (See some theory of descent. The plan of life-story common to them CAPE COLONY: History.) His control over the Bond enabled all, involving two alternating_generations, was demonstrated him for many years, while free from the responsibilities of office, for Liverworts, Mosses, Ferns, Equiseta, Rhizocarps, Lycopodi- to make and unmake ministers at his will, and earned for him aceae, and even Gymnosperms, with a completeness and certainty the name of "Cabinet-maker of South Africa." Although which must still surprise those who know the botanical literature officially the term Afrikander was explained by Hofmeyr of the author's time. The conclusions of Hofmeister remain in to include white men of whatever race, yet in practice the their broad outlines unshaken, but rather strengthened by later-influence of the Bond was always exerted in favour of the Dutch, acquired details. In the light of the theory of descent the and its power was drawn from the Dutch districts of Cape Colony. common plan of life-history in plants apparently so diverse as The sympathies of the Bond were thus always strongly with those named acquires a special significance; but it is one of the the Transvaal, as the chief centre of Dutch influence in South remarkable features of this great work that the writer himself Africa; and Hofmeyr's position might in many respects be does not theorize-with an unerring insight he points out his compared with that of Parnell at the head of the Irish Nationalist comparisons and states his homologies, but does not indulge in party in Great Britain. In the Bechuanaland difficulty of 1884 explanatory surmises. It is the typical work of an heroic age Hofmeyr threw all the influence of the Bond into the scale in of plant-morphology. From 1857 till 1862 Hofmeister wrote favour of the Transvaal. But in the course of the next few years occasionally on physiological subjects, such as the ascent of sap, he began to drift away from President Kruger. He resented and curvatures of growing parts, but it was in morphology that the reckless disregard of Cape interests involved in Kruger's he found his natural sphere. In 1861, in conjunction with fiscal policy; he feared that the Transvaal, after its sudden other botanists, a plan was drawn up of a handbook of physio- leap into prosperity upon the gold discoveries of 1886, might logical botany, of which Hofmeister was to be editor. Though overshadow all other Dutch influences in South Africa; above the original scheme was never completed, the editor himself all he was convinced, as he showed by his action at the London contributed two notable parts, Die Lehre von der Pflanzenzelle conference, that the protection of the British navy was indis(1867) and Allgemeine Morphologie der Gewächse (1868). The pensable to South Africa, and he set his face against Kruger's former gives an excellent summary of the structure and relations intrigues with Germany, and his avowed intention of acquiring of the vegetable cell as then known, but it did not greatly modify an outlet to the sea in order to get into touch with foreign current views. The latter was notable for its refutation of the powers. spiral theory of leaf arrangement in plants, founded by C. F. Schimper and A. Braun. Hofmeister transferred the discussion from the mere study of mature form to the observation of the development of the parts, and substituted for the "spiral tendency" a mechanical theory based upon the observed fact that new branchings appear over the widest gaps which exist between next older branchings of like nature. With this important work Hofmeister's period of active production closed; he fell into ill-health, and retired from his academic duties some time before his death at Lindenau, near Leipzig, on the 12th of January 1877. (F. O. B.) HOFMEYR, JAN HENDRIK (1845-1909), South African politician, was born at Cape Town on the 4th of July 1845. He was educated at the South African College, and at an early age turned his attention to politics, first as a journalist. He was editor of the Zuid Afrikaan till its incorporation with Ons | Land, and of the Zuid Afrikaansche Tidjschrift. By birth, education and sympathies a typical Dutch Afrikander, he set himself to organize the political power of his fellow-countrymen. This he did very effectively, and when in 1879 he entered the Cape parliament as member for Stellenbosch, he became the real leader of the Dutch party. Yet he only held office for six months-as minister without portfolio in the Scanlen ministry from May to November 1881. He held no subsequent official post in the colony, though he shared with Sir Thomas Upington and Sir Charles Mills the honour of representing the Cape at the intercolonial conference of 1887. Here he supported the proposal for entrusting the defence of Simon's Town to Cape Colony, leaving only the armament to be provided by the imperial government, opposed trans-oceanic penny postage, and moved a resolution in favour of an imperial customs union. At the colonial conference of 1894 at Ottawa he was again one of the Cape representatives. In 1888 and in 1889 he was a member of the South African customs conference.

His chief importance as a public man was, however, derived from his power over the Dutch in Cape Colony, and his control of the Afrikander Bond. In 1878 he had himself founded the "Farmers' Association," and as the Cape farmers were almost entirely Dutch the Association became a centre of Dutch influence. When the Bond was formed in 1882, with purely political aims, Hofmeyr made haste to obtain control of it, and in 1883 amalgamated the Farmers' Association with it. Under his direction the constitution of the Bond was modified

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In 1890 Hofmeyr joined forces with Cecil Rhodes, who became premier of Cape Colony with the support of the Bond. Hofmeyr's influence was a powerful factor in the conclusion of the Swaziland convention of 1890, as well as in stopping the "trek" to Banyailand (Rhodesia) in 1891-a notable reversal of the policy he had pursued seven years before. But the reactionary elements in the Bond grew alarmed at Rhodes's imperialism, and in 1895 Hofmeyr resigned his seat in parliament and the presidency of the Bond. Then came the Jameson Raid, and in its wake there rolled over South Africa a wave of Dutch and anti-British feeling such as had not been known since the days of Majuba. (The proclamation issued by Sir Hercules Robinson disavowing Jameson was suggested by Hofmeyr, who helped to draw up its terms.) Once more Hofmeyr became president of the Bond. By an alteration of the provincial constitution, all power in the Cape branch of the Bond was vested in the hands of a vigilance committee of three, of whom Hofmeyr and his brother were two. As the recognized leader of the Cape Dutch, he protested against such abuses as the dynamite monopoly in the Transvaal, and urged Kruger even at the eleventh hour to grant reasonable concessions rather than plunge into a war that might involve Cape Afrikanderdom and the Transvaal in a common ruin. In July 1899 he journeyed to Pretoria, and vainly supported the proposal of a satisfactory franchise law, combined with a limited representation of the Uitlanders in the Volksraad, and in September urged the Transvaal to accede to the proposed joint inquiry. During the negotiations of 1899, and after the outbreak of war, the official organ of the Bond, Ons Land, was conspicuous for its anti-British attitude, and its violence forced Lord Roberts to suppress it in the Cape Colony district under martial law. Hofmeyr never associated himself publicly with the opinions expressed by Ons Land, but neither did he repudiate them. The tide of race sympathy among his Dutch supporters made his position one of great difficulty, and shortly after the outbreak of war he withdrew to Europe, and refused to act as a member of the "Conciliation Committee" which came to England in 1901 in the interests of the Boer republics.

Towards the close of the war Hofmeyr returned to South Africa and organized the Bond forces for the general election held in Cape Colony at the beginning of 1904, which resulted in the defeat of the Bond party. Hofmeyr retained his ascendancy over the Cape Dutch, but now began to find himself somewhat out of sympathy with the larger outlook on South African

In return, the grateful Tyers presented him with a gold pass | John Thornhill, Sir James's son, made the map. This version ticket "In perpetuam Beneficii Memoriam." It was long thought (in prose) was subsequently run into rhyme by one of Hogarth's that Hogarth designed this himself. Mr Warwick Wroth (Numis- friends, the Rev. Wm. Gostling of Canterbury, and after the matic Chronicle, vol. xviii.) doubts this, although he thinks it artist's death both versions were published. In the absence probable that Hogarth designed some of the silver Vauxhall of other biographical detail, they are of considerable interest passes which are figured in Wilkinson's Londina illustrata. The to the student of Hogarth. In 1733 Hogarth moved into the only engravings between 1726 and 1732 which need be referred "Golden Head" in Leicester Fields, which, with occasional to are the "Large Masquerade Ticket " (1727), another satire absences at Chiswick, he continued to occupy until his death. on masquerades, and the print of "Burlington Gate" (1731), By December of this year he was already engaged upon the evoked by Pope's Epistle to Lord Burlington, and defending engravings of a second Progress, that of a Rake. It was not as Lord Chandos, who is therein satirized. This print gave great successful as its predecessor. It was in eight plates in lieu of offence, and was, it is said, suppressed. six. The story is unequal; but there is nothing finer than the figure of the desperate hero in the Covent Garden gaming-house, or the admirable scenes in the Fleet prison and Bedlam, where at last his headlong career comes to its tragic termination. The plates abound with allusive suggestion and covert humour; but it is impossible to attempt any detailed description of them here. "A Rake's Progress "" was dated June 25, 1735, and the engravings bear the words "according to Act of Parliament." This was an act (8 Geo. II. cap. 13) which Hogarth had been instrumental in obtaining from the legislature, being stirred thereto by the shameless piracies of rival printsellers. Although loosely drawn, it served its purpose; and the painter commemorated his success by a long inscription on the plate entitled "Crowns, Mitres, &c.," afterwards used as a subscription ticket to the Election series. These subscription tickets to his engravings, let us add, are among the brightest and most vivacious of the artist's productions. That to the "Harlot's Progress entitled "Boys peeping at Nature," while the Rake's Progress was heralded by the delightful etching known as "A Pleased Audience at a Play, or The Laughing Audience."

was

By 1731 Hogarth must have completed the earliest of the series of moral works which first gave him his position as a great and original genius. This was "A Harlot's Progress," the paintings for which, if we may trust the date in the last of the pictures, were finished in that year. Almost immediately afterwards he must have begun to engrave them-a task he had at first intended to leave to others. From an advertisement in the Country Journal; or, the Craftsman, 29th of January 1732, the pictures were then being engraved, and from later announce ments it seems clear that they were delivered to the subscribers early in the following April, on the 21st of which month an unauthorized prose description of them was published. We have no record of the particular train of thought which prompted these story-pictures; but it may perhaps be fairly assumed that the necessity for creating some link of interest between the personages of the little "conversation pieces" above referred to, led to the further idea of connecting several groups or scenes so as to form a sequent narrative. "I wished," says Hogarth, to compose pictures on canvas, similar to representations on the stage." "I have endeavoured," he says again, "to treat my subject as a dramatic writer; my picture is my stage, and men and women my players, who by means of certain actions and gestures are to exhibit a dumb show." There was never a more eloquent dumb show than this of the "Harlot's Progress." In six scenes the miserable career of a woman of the town is traced out remorselessly from its first facile beginning to its shameful and degraded end. Nothing of the detail is softened or abated; the whole is acted out coram populo, with the hard, uncompassionate morality of the age the painter lived in, while the introduction here and there of one or two well-known characters such as Colonel Charteris and Justice Gonson give a vivid reality to the satire. It had an immediate success. To say nothing of the fact that the talent of the paintings completely | reconciled Sir James Thornhill to the son-in-law he had hitherto refused to acknowledge, more than twelve hundred names of subscribers to the engravings were entered in the artist's book. On the appearance of plate iii. the lords of the treasury trooped to the print shop for Sir John Gonson's portrait which it contained. The story was made into a pantomime by Theophilus Cibber, and by some one else into a ballad opera; and it gave rise to numerous pamphlets and poems. It was painted on fan-mounts and transferred to cups and saucers. Lastly, it was freely pirated. There could be no surer testimony to its popularity. From the MSS. of George Vertue in the British Museum (Add. MSS. 23069-98) it seems that during the progress of the plates, Hogarth was domiciled with his father-in-law, Sir James Thornhill, in the Middle Piazza, Covent Garden (the "second house eastward from James Street "), and it must have been thence that set out the historical expedition from London to Sheerness of which the original record still exists at the British Museum. This is an oblong MS. volume entitled An Account of what seem'd most Remarkable in the Five Days' Peregrination of the Five Following Persons, viz., Messieurs Tothall, Scott, In "A Harlot's Progress" Hogarth had not strayed much Hogarth, Thornhill and Forrest. Begun on Saturday May 27th beyond the lower walks of society, and although, in “A Rake's 1732 and Finish'd On the 31st of the Same Month. Abi tu et Progress," his hero was taken from the middle classes, he can fac similiter. Inscription on Dulwich College Porch. The journal, scarcely be said to have quitted those fields of observation which which is written by Ebenezer, the father of Garrick's friend are common to every spectator. It is therefore more remarkable, Theodosius Forrest, gives a good idea of what a "frisk "-as looking to his education and antecedents, that his masterpiece, Johnson called it--was in those days, while the illustrations “Marriage à la mode," should successfully depict, as the advertisewere by Hogarth and Samuel Scott the landscape painter.ment has it, "a variety of modern occurrences in high life."

We must pass more briefly over the prints which followed the two Progresses, noting first " A Modern Midnight Conversation," an admirable drinking scene which comes between them in 1733, and the bright little plate of "Southwark Fair," which, although dated 1733, was published with "A Rake's Progress" in 1735. Between these and "Marriage à la mode," upon the pictures of which the painter must have been not long after at work, come the small prints of the " Consultation of Physicians " and "Sleeping Congregation" (1736), the “Scholars at a Lecture" (1737); the "Four Times of the Day" (1738), a series of pictures of 18th century life, the earlier designs for which have been already referred to; the" Strolling Actresses dressing in a Barn" (1738), which Walpole held to be, "for wit and imagination, without any other end, the best of all the painter's works "; and finally the admirable plates of the Distrest Poet painfully composing a poem on Riches" in a garret, and the Enraged Musician fulminating from his parlour window upon a discordant orchestra of knife-grinders, milk-girls, ballad-singers and the rest upon the pavement outside. These are dated respectively 1736 and 1741. To this period also (i.e. the period preceding the production of the plates of "Marriage à la mode ") belong two of those history pictures to which, in emulation of the Haymans and Thornhills, the artist was continually attracted. "The Pool of Bethesda " and the " Good Samaritan,' ," "with figures seven feet high," were painted circa 1736, and presented by the artist to St Bartholomew's Hospital, where they remain. They were not masterpieces; and it is pleasanter to think of his connexion with Captain Coram's recently established Foundling Hospital (1739), which he aided with his money, his graver and his brush, and for which he painted that admirable portrait of the good old philanthropist which is still, and deservedly, one of its chief ornaments.

Yet, as an accurate delineation of upper class 18th century | result was the well-known Analysis of Beauty (1753), a treatise society, his "Marriage à la mode" has never, we believe, been seriously assailed. The countess's bedroom, the carl's apartment with its lavish coronets and old masters, the grand saloon with its marble pillars and grotesque ornaments, are fully as true to nature as the frowsy chamber in the "Turk's Head Bagnio," the quack-doctor's museum in St Martin's Lane, or the mean opulence of the merchant's house in the city. And what story could be more vividly, more perspicuously, more powerfully told than this godless alliance of sacs et parchemins-this miserable tragedy of an ill-assorted marriage? There is no defect of invention, no superfluity of detail, no purposeless stroke. It has the merit of a work by a great master of fiction, with the additional advantages which result from the pictorial fashion of the narrative; and it is matter for congratulation that it is still to be seen by all the world in the National Gallery in London, where it can tell its own tale better than pages of commentary. The engravings of " Marriage à la mode " were dated April 1745. Although by this time the painter found a ready market for his engravings, he does not appear to have been equally successful in selling his pictures. The people bought his prints; but the richer and not numerous connoisseurs who purchased pictures were wholly in the hands of the importers and manufacturers of "old masters." In February 1745 the original oil paintings of the two Progresses, the "Four Times of the Day" and the "Strolling Actresses were still unsold. On the last day of that month Hogarth disposed of them by an ill-devised kind of auction, the details of which may be read in Nichols's Anecdotes, for the paltry sum of £427,75. No better fate attended "Marriage | à la mode," which six years later became the property of Mr Lane of Hillingdon for 120 guineas, being then in Carlo Maratti frames which had cost the artist four guincas a piece. Something of this was no doubt due to Hogarth's impracticable arrangements, but the fact shows conclusively how completely blind his contemporaries were to his merits as a painter, and how hopelessly in bondage to the all-powerful picture-dealers. Of these latter the painter himself gave a graphic picture in a letter addressed by him under the pseudonym of "Britophil" to the St James's Evening Post, in June 1737.

But if Hogarth was not successful with his dramas on canvas, he occasionally shared with his contemporaries in the popularity of portrait painting. For a picture, executed in 1746, of Garrick as Richard III. he was paid £200, "which was more," says he, "than any English artist ever received for a single portrait." In the same year a sketch of Simon Fraser, Lord Lovat, afterwards beheaded on Tower Hill, had an exceptional success.

We must content ourselves with a brief enumeration of the most important of his remaining works. These are "The Stage Coach or Country Inn Yard" (1747); the series of twelve plates entitled "Industry and Idleness" (1747), depicting the career of two London apprentices; the "Gate of Calais" (1749), which had its origin in a rather unfortunate visit paid to France by the painter after the peace of Aix-la-Chapelle; the "March to Finchley" (1750); " Beer Street," "Gin Lane" and the "Four Stages of Cruelty" (1751); the admirable representations of election humours in the days of Sir Robert Walpole, entitled "Four Prints of an Election" (1755-1758); and the plate of "Credulity, Superstition and Fanaticism, a Medley" (1762), adapted from an earlier unpublished design called "Enthusiasm Delineated." Besides these must be chronicled three more essays in the " great style of history painting," viz. "Paul before Felix," "Moses brought to Pharaoh's Daughter" and the Altarpiece for St Mary Redcliffe at Bristol. The first two were engraved in 1751-1752, the last in 1794. A subscription ticket to the earlier pictures, entitled "Paul before Felix Burlesqued," had a popularity far greater than that of the prints themselves.

In 1745 Hogarth painted that admirable portrait of himself with his dog Trump, which is now in the National Gallery. In a corner of this he had drawn on a palette a serpentine curve with the words "The Line of Beauty." Much inquiry ensued as to the meaning of this hieroglyphic; and in an unpropitious hour the painter resolved to explain himself in writing. The

to fix "the fluctuating ideas of Taste," otherwise a desultory essay having for pretext the precept attributed to Michelangelo that a figure should be always "Pyramidall, Serpent like and multiplied by one two and three." The fate of the book was what might have been expected. By the painter's adherents it was praised as a final deliverance upon aesthetics; by his enemies and professional rivals, its obscurities, and the minor errors which, notwithstanding the benevolent efforts of literary friends, the work had not escaped, were made the subject of endless ridicule and caricature. It added little to its author's fame, and it is perhaps to be regretted that he ever undertook it. Moreover, there were further humiliations in store for him. In 1759 the success of a little picture called "The Lady's Last Stake," painted for Lord Charlemont, procured him a commission from Sir Richard Grosvenor to paint another picture "upon the same terms.' Unhappily on this occasion he deserted his own field of genre and social satire, to select the story from Boccaccio (or rather Dryden) of Sigismunda weeping over the heart of her murdered lover Guiscardo, being the subject of a picture in Sir Luke Schaub's collection by Furini which had recently been sold for £400. The picture, over which he spent much time and patience, was not regarded as a success; and Sir Richard rather meanly shuffled out of his bargain upon the plea that "the constantly having it before one's eyes, would be too often occasioning melancholy ideas to arise in one's mind." Sigismunda, therefore, much to the artist's mortification, and the delight of the malicious, remained upon his hands. As, by her husband's desire, his widow valued it at £500, it found no purchaser until after her death, when the Boydells bought it for 56 guineas. It was exhibited, with others of Hogarth's pictures, at the Spring Gardens exhibition of 1761, for the catalogue of which Hogarth engraved a Head-piece and a Tailpiece which are still the delight of collectors; and finally, by the bequest of Mr J. H. Anderdon, it passed in 1879 to the National Gallery, where, in spite of theatrical treatment and a repulsive theme, it still commands admiration for its colour, drawing and expression.

In 1761 Hogarth was sixty-five years of age, and he had but three years more to live. These three years were embittered by an unhappy quarrel with his quondam friends, John Wilkes and Churchill the poet, over which most of his biographers are contented to pass rapidly. Having succeeded John Thornhill in 1757 as serjeant painter (to which post he was reappointed at the accession of George III.), an evil genius prompted him in 1762 to do some "timed" thing in the ministerial interest, and he accordingly published the indifferent satire of "The Times, plate i." This at once brought him into collision with Wilkes and Churchill, and the immediate result was a violent attack upon him, both as a man and an artist, in the opposition North Brilon, No. 17. The alleged decay of his powers, the miscarriage of Sigismunda, the cobbled composition of the Analysis, were all discussed with scurrilous malignity by those who had known his domestic life and learned his weaknesses. The old artist was deeply wounded, and his health was failing. Early in the next year, however, he replied by that portrait of Wilkes which will for ever carry his squinting features to posterity. Churchill retaliated in July by a savage Epistle to William Hogarth, to which the artist rejoined by a print of Churchill as a bear, in torn bands and ruffles, not the most successful of his works. The pleasure, and pecuniary advantage," writes Hogarth manfully, "which I derived from these two engravings" (of Wilkes and Churchill), "together with occasionally riding on horseback, restored me to as much health as can be expected at my time of life." He produced but one more print, that of "Finis, or The Bathos," March 1764, a strange jumble of "fag ends," intended as a tail-piece to his collected prints; and on the 26th October of the same year he died of an aneurism at his house in Leicester Square. His wife, to whom he left his plates as a chief source of income, survived him until 1789. He was buried in Chiswick churchyard, where a tomb was erected to him by his friends in 1771, with an epitaph by Garrick. Not far off, on the road

to Chiswick Gardens, still stands the little red-brick Georgian | on the 9th of December 1770. His ancestors had been shepherds villa in which from September 1749 until his death he spent the summer seasons. After many vicissitudes and changes of ownership it was purchased in 1902 by Lieut.-Colonel Shipway of Chiswick, who turned it into a Hogarth museum and preserved it to the nation.