has been called a ‘Snyders in miniature,’ though there is little resemblance in their style. Good examples of his hunting-pieces are in the galleries at Dresden, Schwerin, Rotterdam, the Hermitage at St. Petersburg, and elsewhere. Some are also in private collections in England. Hondius came to England about 1665, and resided there till his death in London in 1691. According to Vertue he lived in Ludgate Hill, but died of a fit of the gout at the Blackamoor's Head over against Water Lane, Fleet Street, in 1695. He mentions a picture of a dog-market containing thirty different kinds of dogs, and states that Hondius was a man of humour and irregular life. Hondius appears to have had a wife, Geertruyt Willems, and a son, Isaack, who also became a painter. A set of etchings of animals, executed in 1672, and a few others by Hondius, are highly prized by collectors. He painted his own portrait, which was engraved in mezzotint by John Smith.
[Walpole's Anecd. of Painting, ed. Wornum; Immerzeel's Leven der Hollandsche Schilders, &c.; Scheffer and Obreen's Rotterdamsche Historienbladen, iii. 611; Woltmann and Woermann's Geschichte der Malerei; Houbraken's Grosse Schouburgh, ed. Wurzbach; Seguier's Dict. of Painters; Catalogues of the galleries at Dresden, Schwerin, &c.]
HONDIUS, JODOCUS [Joos or Josse de Hondt] (1563–1611), engraver, born at Wacken in Flanders in 1563, was son of Olivier de Hondt and Petronella van Havertuyn. Hendrik Hondius the elder, the better-known engraver and publisher, was a brother; a sister was wife of Pieter van den Berghe, better known as Petrus Montanus. When he was two years old his parents removed to Ghent, and Hondius was educated there. He is said to have engraved original compositions on copper and ivory at the age of eight, and was apprenticed to a painter, from whom he learnt drawing. His talents attracted the notice of Alessandro Farnese, duke of Parma, the governor of the Netherlands, who gave him employment, and would have sent him to Italy. Hondius, however, remained at Ghent, studied Greek and Latin, busied himself with cosmography, type-founding, &c., until the siege of Ghent compelled him to take refuge in England. In London Hondius set up as a type-founder, an engraver of maps and charts, and a maker of globes and mathematical instruments. He made celestial and terrestrial globes larger than any known before. He engraved some of the earliest maps of England and other countries, and illustrated the voyages of Sir Francis Drake and Thomas Cavendish. He also engraved the portraits of the two navigators and those of Elizabeth, Henri IV, and Gerard Mercator. About 1594 Hondius removed with his household to Amsterdam. This may have been due to the death of Gerard Mercator, for Hondius purchased the plates of Mercator's ‘Atlas,’ and added fifty more in a new edition of the ‘Atlas’ published by him in 1606 at Amsterdam. He also published a treatise on the construction and use of the globes (1597), one on calligraphy with examples from the best masters (1594), and similar works. He died at Amsterdam on 10 Feb. 1611. He married on 11 April 1587, at the Dutch Church in Austin Friars, London, Colette van der Keere of Ghent, and by her had thirteen children, of whom two sons and four daughters survived. His two sons, Jodocus and Hendrik, both set up as publishers of prints, maps, &c., at Amsterdam, and completed the works left unfinished by their father, including the maps for Speed's ‘Britain.’
[Biography in the preface to Mercator and Hondius's Atlas (ed. 1633); Immerzeel and Kramm's Levens der Hollandsche Konstschilders, &c.; Dodd's manuscript Hist. of English Engravers (Brit. Mus. Add. MS. 33402); Moen's Reg. of the Dutch Church, Austin Friars; Hessel's Eccl. Lond.-Batav. ii. 592.]
HONE, NATHANIEL (1718–1784), painter, born 24 April 1718 in Dublin, was son of Nathaniel Hone, a merchant of Wood Quay, and treasurer of the congregation of the presbyterian chapel in Eustace Street. Hone at an early age, and without any instruction, began to practise as a portrait-painter. He came over to England while still young, and went to Italy to study. He was at Rome in 1750 and 1751, and at Florence in 1752, as we learn from the notebooks of Sir Joshua Reynolds, in one of which there is a small caricature portrait of Hone. On returning home Hone practised as an itinerant portrait-painter about England, and, while engaged in his profession at York, married a lady of some property. Shortly afterwards he settled in St. James's Place, London, and soon established a reputation as a portrait-painter in oil and in miniature, more especially in enamel. In this line of painting Hone was without a rival at the time, and his works were justly appreciated. He was a member of the Society of Artists, and sent to their first exhibition in 1760 a picture of ‘The Brick Dust Man’ (engraved in mezzotint by James Watson). After the division of the artists, Hone adhered to the society exhibiting at Spring Gardens, and in 1766 was one of the artists who signed the roll-declaration for incorporation. He was also one of the first directors of the new Society of Incorporated Artists. To their
