Independently of his works, Hammond possessed qualities entitling him to be remembered long after the former are forgotten. He was an excellent preacher. Charles I. pronounced him the most natural orator he had ever heard. His range of reading was extensive. A di gent scholar and a copious writer, he left no time for idle-
His writings, published in 4 vols. ful. 1674-84, most part of controversial sermons and tracts. The best of them are his Practical Catechism, first published in 1644; his Paraphrase and Annotitions on the New Testament; and an incomplete work of a similar nature on the Old Testament. His Life, written by Bishop Fell, and prefixed to the collected Works, has been reprinted in vol. iv. of Wordsworth’s Ecclesiastical Biography. Sce also Lloyd’s Memoires, 1668, and Life of Henry Hammond, by the Rev. G. G. Perry.
HAMON, Jean Louis (1821–1874), one of the Lest known of French painters under the second empire, was born at Plouha on 5th May 1821. At an early age he was destined to the priesthood, and placed under the care of the brothers Lamennais, but his strong desire to become a painter finally triumphed over family opposition, and in 1840 he courageously left Plouba for Paris,—his sole re- soure2s being a pension of five hundred franes, granted him for one year ouly by the municipality of his native town, At PariS Hamon received valuable counsels and encourage- mont from Delaroche and Gleyre, and in 1848 he made his appzarance at the Salon with Le tombeau du Christ (Musée a2 Marscille), and a decorative work, Dessus de Porte. The works which he exhibited in 1849—Une Affiche Romaine, LTalité au Sérail, and Perroquet jasant avec deux jeunes Filles—obtained no marke] success. Hamon was therefore content to accept a place in the manufactory of Sdvres, but an enamelled casket by his hand having attracted notice at the Lonlon International Exhibition of 1851, he received a medal, and, reinspired by success, left his post to try his chances again at the Salon of 1852. La Comédie Humaine, which he then exhibited, tuned the tide of his fortune, an] Ma scenr n’y est pas (purchased by the emperor) obtained for its author a third class med in 1853. ‘At the Paris International Exhibition of 1855, when Hamon re-exhibited the casket of 1851, together with several vases and pictures of which L’Amour et son Troupeau, Ce n’est pas moi, and Une Gardeuse d’Enfants were the chief, he received a medal of the second class, and the ribbon of the legion of honoar. In the following year le was absent in the East, but in 1857 he reappeared with Boutique & quatre Sous, Papillon enchainé, Cantharide esclive, Dévidenses, &e., in all ten pictures; L’Amour en te was contributed to the Salon of 1859, and Vierge do Lesbos, Tutelle, La Voliére, L’Escamoteur, and La Scour ainée were all seen in 1861. Hamon now spent sume time in Italy, chiefly at Capri, whence in 1864 he sent to Paris L’Aurore and Un Jour de Fiangailles. The influence of Italy was also evident in Les Muses & Pompéi, his sole contribution to the Salon of 1866, a work which enjoyed great popularity and was re-exhibited at the International Exhibition of 1867, together with La Promenads, and six other pictures of previous years. His last work, Le triste Rivage, appeared at the Salon of 1873. It was painted at St Raphael, where Hamon had finally settled in a little house on the shores of the Mediterranean, close by Alphonse Karr’s famous garden. In this house he died on the 29th of May 1874, and the contents of his studio aud portfolios wore dispersed at an obscure sale—thinly attended—for an almost nominal sum. Hamon had made his own a quiet place amongst those workers who since the days of Vien and David have been trying to bring home to us something of the pictorial aspect of classic time. Te had neither the power nor the learning which might have enabled him to give to that aspect any very real shape, nor was the side of human life with which he was most concerned weighty or important. He especially loved the gestures of children and their little ways,—now comic, now cunning, but always naive, and always full of charms. Dressed in classic fashion they play on the canvas of Hamon, with endless fanciful alterations, the same nursery comedies of which Ma swur u’y est pas is one of the best examples. The painter’s very mannerisms, his pale colour, and the hazy atmosphere which pervades his often rather empty field, enhance the graceful unreality of these little creatures, who are not quite classic loves nor yet altogether human babies.
HAMPDEN, John (1594–1643), the eldest son of William Hampden of Great Hampden in Buckinghamshire, by Elizabeth, second daughter of Sir Henry Cromwell, and aunt of Oliver, the future Protector, was born in 1594. By his father’s death, when he was but a child, he became the owner of a good estate, and a ward of the crown. Ile was educated at the grammar school at Thame, and in 1609 he became a commoner of Magdalen College at Oxford. In 1613 he was admitted a student of the Inner Temple, and in 1619 he married Elizabeth Symeon. He first sat in parliament for the borough of Grampound in 1621. From that time he was a member of every suc- ceeding parliament Lill he died.
To the biographer who does not wish to become an historian under the pretence of narrating the incidents of his hero’s life, Hampden’s career must appear to give little scope for narrative. The letters which he left bebind him are few. His speeches are scarcely more numerous and are extremely brief. In the early days of his parliamentary career he was content to be overshadowed by Eliot, as in its later days he was content to be overshadowed by Pym, and to be commanded by Essex. Yet it is Hampden, and not Eliot or Pym, who lives in the popular imagination as the central figure of the English revolution in its carlier stages. It is Hampden whose statue rather than that of Eliot or Pym has been selected to take its place in St Stephen's Hall as the noblest type of the parliamentary opposition, as Falkland’s has been selected as the noblest type of parliamentary royalism.
Something of Hampden's fame no doubt is owing to the position which he took up as the opponent of shipanoney. But it is hardly possible that even resistance to ship-money would have so distinguished him but for the mingled massiveness and modesty of his character, his dislike of all pretences in himself or others, his brave contempt of danger, and his charitable readiness to shield others as far as possible from the evil consequences of their actions. Nor was he wanting in that skill which enabled him to influence men towards the ends at which he aimed, and which was spoken of as subtlety by those who disliked his ends.
During the last two parliaments of James and the first three parliaments of Charles, Hampden did not, so far as we know, open his lips in public debate, but he was increasingly employed in committee work, for which he seems to have had a special aptitude. In 1626 he took an active part in the preparation of the charges against Buck- ingham. In January 1627 he was bound over to answer at the council board for his refusal to pay the forced loan. Later in the year he was committed to the gate-house, and then sent into confinement in Hampshire, from which he was liberated just before the meeting of the third parliament of the reign, in which he once more rendered useful but un- obtrusive assistance to his leaders.
