HENKY THE NAVIGATOR. 7S at Sagres, Xovember 13, 1460; but the impulse which he had imparled to the maritime enter- prise of the Portuguese continued for more than fifty 3-ears after his death, and resulted in the eircunmavigation of Africa, and in the upbuild- ing of a Portuguese empire in India and in Brazil. The science of navigation, which be- fore his time can hardly be said to have constitut- ed a science at all, is indebted to Prince Henry for many important improvements. Consult: ilajor. Life of Prince Henry of Portugal (Lon- don, 1868) ; id., Discoveries of Prince Henry the i^'arigntor (ib.. 1S77). See Africa, section on Histoiji iinil K.cploration. HENSCHEL, hen'shel, Georg (1850—). A Cierman-English composer and vocalist, born at Breslau. He was of Polish descent on his father's side, and both his father and mother were noted for their knowledge of music. His first teacher was Schaeffer, and he subsequently studied under jMoseheles and Wenzel for the pianoforte. Gotz for singing, and Reinecke for theory and com- position. He was enrolled as a student in the Liepzig Conservatory from 1867 to 1870, after which he studied in Berlin — composition inuler Kiel, singing under Schulze, and the violin un- der Schiever. For the next few years he steadily made a reputation for himself as a vocalist of high rank, singing in the Messiah (in French) at Brussels in 1873. Other important engage- ments followed rapidly, notably in Gluck's Iphi- ginie en TauriOc, succeeded in 1874 by an en- gagement as a soloist at the Lower Rhine !Musi- oal Festival held at Cologne. His first concert in England was early in 1877, and his success was so complete that London became his perma- nent home, and in 1890 he was legally natural- ized. He was speedily in request as a teacher of singing, his first English pupil being n daugh- ter of Queen Victoria, the Princess Louise. About this time he first met Miss Lilian Bailey ( 1860- 1901), a young American soprano who made her English debut at a Philharmonic Society cor^- oert in London in 1879. She became a pupil of his. and two vears later ( 1881 ) they were mar- ried at Boston, ilass. From 1881" to 1884 he was conductor of the Boston Svmphony Orches- tra, returning to London in 1885. From 1886 to 1888 he was professor of singing at the Royal College of Singing, London. After his marriage his appearances in the principal cities of America were in company with his wife. Both artists became famous for their work in Lieder. although they were equally at home in opera and oratorio. His compositions are many, consisting mainly of vocal works and studies, together with a seri- ous opera. Nubia (1899), a comic opera, A Sea Change (1899), and several works for string and full orchestra. His most important work is the Stabat Mater ( 1899) . He had a very high reputation as a teacher of singing, three-fourths of his pupils generally being Ajcaericans. His wife died in London. HENSEL, hen'scl, LuiSE (1798-1876). A German devotional poet, sister of Wilhelm Hen- sel the painter. She was born at Linum. and after the death of her father moved with her mother to Berlin (1810), where, seven years afterwards she met Clemens Brentano. who in- fluenced her greatly. Though she had been a Protestant, she became a Catholic (1818), as Brentano was of that Church. In 1819 she was 3 HENSELT. companion to Princess Salm, and in 1821 became teacher in the family of the Countess Dowager of Stolberg. From "l833 to 1837 she lived in Berlin again; then at Neuberg, Cologne, and Paderborn. In her first book, Gcdichtc (edited by Kletke, 1858), she coiiaborated with her sis- ter Wilhelmine. Her evening Imnn, "Miide bin ich, geh' zur Ruh," is one of 'the finest of German devotional lyrics. Her completed works were edited by Schliiter (last ed. 1892). Con- sult Binder, Luise Hensel (Freiburg. 1885). — WiLiiELMiNE Hensel (1802-93), sister of Lui.se, besides the poems published with Luise, wrote another volume, Gedichte (1882). HENSEL, WiLiiELM (1794-1861). A German historical and portrait painter, bom at Trebbin, Brandenburg. He studied at first arcliitecture in Berlin, then became a pupil of Director Frisch at the Academy, and in 1813-15 took part in the War of Liberation, during which he visited Paris twice and became deeply interested in its art treasures. Although successful afterwards in Berlin as a poet, he yielded to his greater in- clination for art, and in 1825 went to Rome, where he copied Raphael's "Transfiguration" and other masterpieces. After his return in 1828 he was made Court painter, and in 1831 professor at, and a member of, the Berlin Acadcmj'. He painted mostly biblical subjects, such as "Christ Before Pilate" (1834, Garnisonskirche, Berlin), "Christ and the Woman of Samaria" (Royal Palace, Berlin), "Miriam Leading the Procession of Virgins After Crossing the Red Sea" (1836), etc.; but also historical genre scenes, such as "Vittoria Caldoni Bidding Farewell to Her Friends" ( 1830) , and a great number of portraits — he is credited with more than four hundred — among them those of historical personages ( "Em- peror Wenceslas," Romersaal, Frankfort) and many contemporaneous celebrities, notabl.y Felix Mendelssohn, whose sister Hensel had married in Rome. He is said to have left also about a thousand portraits in silver point, and did credi- table work as an illustrator and etcher, his best- known drawings being those for Tieck's Genoveva and Phantasus. HENSELT, hen'selt, Adolf von (1814-89). A distinguished German pianist, born at Schwa- bach, Bavaria. The progress he had made in his art, together with the evidences he had given of his genius, led King Ludwig I. to grant him an annuity, which made it possible for him to take up study with Hummel at Weimar and Sechter at Vienna. In 1837 he made his formal debut as a concert virtuoso, and scored a remarkable triumph in the several large cities of Germany in which he appeared. The following year he went to Saint Petersburg, where his fame had already preceded him, and where he ultimately reaped his richest rewards. Soon after his ar- rival there he was appointed Court pianist to the Empress and music-teacher to the Imperial family, an appointment which was followed by that of inspector of musical instruction at the Imperial Educational Institution for Girls. He was not a prolific composer, but all his com- positions are marked with his individuality, and depend largely for their interpretation on the style of playing in which Henselt excelled. As a perfomier he was remarkable for his s^-mpa- thetic and poetical interpretation, as well as his mastership of legato execution, and what has
