A.R.A. in 1850, and R.A. in 1860. He has since visited Brittany, Norway, and Holland in search of subjects. Works: Rest by the Wayside (1854); Birthplace of the Streamlet (1855); Passing Cloud, Welcome Bonny Boat (1856); Widow's Son going to Sea, Signal on the Horizon (1857); Gathering Eggs (1858); Luff Boy! (1859); Whose Bread is on the Waters, Oh! Well for the Sailor Lad, Stand Clear (1860); Sea Urchins (1861); Breton Fishermen's Wives, Mackerel Take (1865); Mother Carey's Chickens (1867); Morning after a Gale (1868); Fish from the Doggerbank (1870); Market Girls at a Fjord (1871); Jolly as a Sand-Boy (1872); Jetsam and Flotsam, Kelp Burners—Shetland (1874); Hearts of Oak (1875); Seaside Ducks, Crabbers (1876); Word from the Missing (1877); Coral Fisher (1878); Tanning Nets, Mushroom Gatherers (1879); Diamond Merchants (1881); Devon Harvest Cart, Caller Herrin' (1882); Catching a Mermaid, Surrey Stream, Wily Angler (1883); Wild Harbourage, Mirror of the Sea-Mew, Catching Sand-Launce (1884). His son, Bryan Hook, was awarded the Turner gold medal and scholarship at the Royal Academy in 1882.—Meynell, 160; Art Journal (1856), 41; Portfolio (1871), 181.
HOPFGARTEN, AUGUST, born in Berlin,
March 17, 1807. History painter, pupil
of Ruscheweyh, then of Berlin Academy
under Dähling, Niedlich, and Wach; won
a prize in 1825, studied in Rome (1827-32),
then decorated two ducal chapels in Wiesbaden,
and in 1835 returned to Berlin,
where in 1854 he became professor and
member of the Academy. Works: Raphael
finding Model for Madonna della Sedia;
Dressing the Bride; Girls feeding Swans;
Finding of Moses; Boaz and Ruth; Saracen
Robbers; Tasso and Leonora of Este
(1839), Female Head, National Gallery, Berlin;
Roses of St. Elizabeth, Thorwaldsen
Museum, Copenhagen; Youth of Bacchus
(1865), Königsberg Museum. Fresco: Coming
of the Holy Ghost, Chapel of Royal
Palace, Berlin.—Cotta's Kunstbl. (1834),
170; Kunstbl. (1854), 401; Müller, 266;
Rosenberg, Berl. Malersch., 31.
HOP GARDENS OF ENGLAND, Cecil
Lawson, private gallery, England; canvas,
H. 5 ft. × 7 ft. Scene in neighbourhood of
Wrotham, Kent, in September, when the
hops are ripe and ready for picking. The
small circular buildings at left are the oasts,
or kilns, for drying the hops over heated
flues. The machine in the foreground is
an instrument for clearing the weeds between
the rows. Painted in 1874; rejected
by Royal Academy, 1875; Grosvenor Gallery,
1879. Engraved by J. Sadeler; etched
by Hubert Herkomer.—Art Journal (1880),
4; Gosse, Cecil Lawson, 24.
HOPPNER, JOHN, born at Whitechapel,
London, April 4, 1758, died there, Jan. 23,
1810. When young was a chorister in the
Royal Chapel, but in 1775 became a pupil
of Royal Academy, and, by the patronage
of the Prince of Wales, became a fashionable
portrait painter, finding a rival only
in Lawrence. The Prince, the Duke and
Duchess of York, and many other notable
personages were among his sitters. Became
in 1793 an A.R.A, and in 1795 R.A. Published,
in 1803, "A Select Series of Portraits
of Ladies of Rank and Fashion," painted by
him. Works: William Pitt, "Gentleman"
Smith the Actor, Countess of Oxford, National
Gallery; others in National Portrait
Gallery, and at Hampton Court.—Redgrave;
F. de Conches, 359, 370; Ch. Blanc, École
anglaise; Sandby, i. 308; Bygone Beauties,
eng. by Wilner after Hoppner (London,
1883); Art Journal (1886), 54.
HORATII, OATH OF THE, Louis David,
Louvre, Paris; canvas, H. 10 ft. 10 in. × 14
ft.; signed, dated Rome, 1784. The three
brothers, their hands extended towards
their father, receive from him the arms
with which they are to contend with the
three Curiatii (Livy, i. 24-5). Camilla, the
betrothed of one of the Curiatii, overcome
with grief, leans her head upon the shoulder
of Sabina, wife of the eldest of the Horatii,
while the mother of the Horatii embraces
