rich. He was full of research and resource, and generally succeeded in getting his own way, but his aims were unselfish and were always directed to the improvement of his profession.
Humphry's works were : 1. 'A Treatise on the Human Skeleton, including the Joints,' Cambridge, 1858, 8vo; an important work containing the results of original research in several directions. The excellent plates by which the book is illustrated were drawn by his wife. 2. 'On the Coagulation of the Blood in the Venous System during Life,' Cambridge, 1859, 8vo; of this subject he had had painful experience during his own illnesses. 3. 'The Human Foot and the Human Hand,' Cambridge and London, 1861, 12mo. 4. 'Observations in Myology,' Cambridge and London, 1872, 3vo. 5. 'Cambridge: the Town, University, and Colleges,' Cambridge, 1880, 12mo; a very excellent little guide book. 7. 'Old Age: the Results of Information received respecting nearly Nine Hundred Persons who had attained the Age of Eighty Years, Including Seventy-four Centenarians,' Cambridge, 1889. Humphry was also founder and co-editor (with Sir William Turner, M.D.) of the ' Journal of Anatomy and Physiology,' Cambridge and London, 1866.
[Personal knowledge; private information; Trans. Royal Med. and Chirurg. Soc. 1897, vol. lxxx.; St. Bartholomew's Hospital Reports, 1896, vol. xxxii.]
HUNGERFORD, Mrs. MARGARET WOLFE (1855?-1897), novelist, eldest daughter of Canon Fitzjohn Stannus Hamilton, vicar-choral of Ross Cathedral and rector of Ross, co. Cork, was born about 1855, and educated in Ireland. Her early home was at St. Brenda's, co. Cork. She married, first, Edward Argles, a Dublin solicitor, by whom she had three daughters; and, secondly, Mr. Thomas H. Hungerford, by whom she had two sons and one daughter. She died of typhoid fever at Bandon on 24 Jan. 1897.
Mrs. Hungerford wrote over thirty novels dealing with the more frivolous aspects of modern society. They had a great vogue in their day. The first, 'Phyllis,' appeared in 1877; the most popular of all was perhaps 'Molly Bawn' (1878). Most of the books appeared anonymously, but a few bore the pseudonym 'The Duchess.' Her plots are poor and conventional, but she possessed the faculty of reproducing faithfully the tone of contemporary society.
[Allibone's Dict., Suppl. ii. 872; Times, 25 Jan. 1897.]
HUNT, ALFRED WILLIAM (1830-1896), landscape painter, born at Liverpool on 15 Nov. 1830, was the seventh child, and the only son who survived infancy, of the painter Andrew Hunt [q. v.], by his marriage with Sarah Sanderson. He was educated at the Liverpool collegiate school, and gained a scholarship at Corpus Christi College, Oxford, in 1848. In 1851 he won the Newdigate prize for English verse, the subject being 'Nineveh,' and he graduated B.A. in 1852. In 1853 he was elected to a fellowship at his college, which he resigned on his marriage in 1861. In 1882 the college paid him the compliment of electing him an honorary fellow. He had painted since the age of eight under his father's instruction, and had spent his vacations during his school and college days in sketching from nature in Scotland, Cumberland, Wales, and Devonshire, and in 1850 on the Rhine. He had exhibited drawings at a very early age at the Liverpool Academy, of which he became a member in 1850, and later at the Portland Gallery in London. At Oxford he was deeply impressed by the writings of John Ruskin and by the art of Turner. James Wyatt, the well-known print-seller in the High Street, purchased his drawings, though not on a liberal scale of remuneration, and encouraged him to adopt painting as a profession. Hunt hesitated for a time between an academic and an artistic career. He was a good scholar, a clear and ready speaker, and took much interest in politics as well as literature; but he was first and foremost an artist, and Wyatt turned the scale in 1854 by giving him a commission to go to Wales and paint as much as he could. In that year he exhibited a picture, 'Wastdale Head from Styhead Pass, Cumberland,' at the Royal Academy, and two years later a small oil-painting by him, 'Llyn Idwal, Carnarvonshire,' was hung on the line. It was much praised by Ruskin, and was followed by other landscapes. These, however, were too much in the pre-Raphaelite manner to find favour with the hanging committee. In his pictures were badly hung, and in an elaborate work, 'The Track of an Old-World Glacier,' was refused. Ruskin protested vehemently in his notes on the Academy against the treatment of Hunt, but his combative championship did the painter little good in official circles. Hunt was at this time in close touch with the pre-Raphaelites, though not a member of the brotherhood, and he was one of the original members of the Hogarth Club. He exhibited at the Academy each year from 1859 to 1862, but his pictures were badly hung, and after