of 1698, and commissioner to the general assembly in 1702. Shortly after the accession of Queen Anne he was deprived of his offices of chancellor and sheriff of Berwickshire; but notwithstanding of this slight he gave his steady support to the treaty of union between Scotland and England. He died in 1724 in the eighty-first year of his age. Mackay in his Memoirs describes the earl as "a clever gentleman of clear parts, but always a lover of set long speeches, zealous for the presbyterian government and its divine right." He was an able, upright, and learned man, kindly and genial though somewhat impracticable. He was succeeded by his third and eldest surviving son, Alexander, second earl of Marchmont, who was a lord of session, a commissioner of exchequer, a privy councillor, envoy extraordinary to the courts of Denmark and Russia in 1718, and clerk-register and first ambassador to the congress at Cambray in 1721. He died in 1740 in his sixty-fifth year.—His son Hugh, third earl, was born in 1708, and was celebrated both for his ability and his learning. He was elected member for Berwickshire in 1734, and made a distinguished figure in the ranks of the opposition to Sir Robert Walpole. He was one of the executors of Sarah, duchess of Marlborough, and of Pope, who held him in high esteem, and makes repeated and honourable mention of him in his poems. He was also the friend of Lord Cobham and of Sir William Wyndham. He held the office of keeper of the great seal of Scotland from 1764 to his death in 1794, in his eighty-sixth year. As he left no surviving male issue, the earldom of Marchmont has ever since been extinct, or at least dormant; but his grandson, Hugh Scott of Harden, made good his claim to the barony of Polwarth.—J. T.
HUME, Grizel, eldest daughter of Sir Patrick Hume, was born in 1665. Her memory has been preserved not more by her genius than by the heroic services which she rendered to her father when he was in hiding. She carried his food to him under night, when he was concealed in the sepulchral vault of his family. With the assistance of a retainer named Winter she dug a hole in the earth below the bed in one of the rooms of Sir Patrick's house, large enough to hold a wooden box in which he could hide himself. She and her assistant were compelled to use their fingers in this laborious task, and at its conclusion the young lady had not a nail upon her fingers. She subsequently joined her father in Holland, after suffering great hardships and encountering no small dangers; and during his residence at Utrecht, his heroic daughter performed the greater part of the domestic drudgery. According to the simple and affecting narrative of her daughter, "She went to the market, went to the mill to have their corn ground, dressed the linen, cleaned the house, made ready dinner, mended the children's clothes, made what she could for them, and in short did every thing." She was not unfrequently compelled to spend the whole night in these labours, and yet contrived to find time to take lessons in French and Dutch, to cultivate music, and even the composition of poetry. When the Revolution took place Lady Grizel returned home, and was offered but declined the place of a maid of honour to Queen Mary. She married in 1690 the son of her father's martyred friend, Mr. Baillie of Jerviswood, with whom she spent forty-eight years of great felicity. This excellent woman died in 1746, in the eighty-first year of her age, having survived her husband eight years. Lady Grizel's best known composition is the beautiful pastoral song, entitled "Were na my heart licht I wad die," which is associated with a touching incident in the life of Burns. A most interesting memoir of Lady Grizel has been written by her daughter, Lady Murray of Stanhope.—Rachel, her other daughter, carried the estate of Jerviswood into the Haddington family, and is the ancestress both of the present earl and of Mr. Baillie of Jerviswood.—J. T.
HUMMEL, Johann, a German mathematician, born at Memmingen in 1518, was educated at Strasburg and Wittemberg. Appointed mathematical tutor at the latter university, he turned his thoughts to the office of the ministry, and obtained a living at Blesse, a town in the neighbourhood of his native city. Hummel refused to subscribe to the Interim of Charles V., and was consequently sent into banishment , but his mathematical reputation procured his recall, and in 1553 he was raised to the dignity of Count Palatine. He latterly occupied the chair of mathematics at Leipsic. He invented several useful mathematical instruments, and effected valuable improvements upon those previously in use. He died in 1562.
HUMMEL, Johann Erdmann, German painter, was born at Cassel about 1770; studied in the art-academy of his native place, and afterwards in Italy (1792-99). Returning to Germany he published, in 1806, "Illustrations of the Life and Apotheosis of Luther," in twelve quarto plates. In 1809 he was appointed professor of perspective, architectural drawing, &c., in the royal academy of Berlin. He continued in Berlin till his death in August, 1827, practising as a painter of history, landscape, portraits, and architecture, and attaining respectability in each. He published in 1824 a useful Manual of Perspective for the use of painters and architects.—J. T—e.
HUMMEL, Johann Nepomuk, the eminent pianist and composer, was born at Presburg, on the 14th November, 1778, and died at Weimar, 17th October, 1837. His father, Joseph, who was director of the imperial school of military music, tried to teach him the violin when he was four years old, but found no indication of talent in him. With far different success, he was then set to practise the pianoforte, by his progress on which he at once manifested his remarkable disposition for music. The military school was broken up in 1785, when Joseph Hummel went to Vienna with his family, where he was engaged as music director at Schikaneder's theatre. Mozart, who was an intimate friend of the manager, had soon an opportunity to observe young Hummel's ability; pleased with which, he undertook to teach him, and accordingly received him as an inmate of his dwelling His lessons had the best and most lasting effect, though they were given at most irregular periods; such, for instance, as when he returned late at night from the opera, and found his pupil fallen asleep while sitting up for him; and the boy derived infinite benefit from the familiarity with which he was treated by his immortal teacher. Hummel's first public performance was in 1787, at a concert given by Mozart at Dresden, and the proficiency he had now attained induced his father to take him into foreign countries to display his ability. After spending some time in the different states of Germany and in Denmark, they went to Edinburgh, where the playing of the young pianist was peculiarly successful. The years 1791 and 1792 were spent in London, where Hummel had the advantage of the instruction of Clementi; then, after a sojourn in Holland, he returned to Vienna, where he arrived in 1793. At this time he applied himself assiduously to the study of composition under Albrechtsberger, and some time later took lessons of Salieri in dramatic writing. It appears that Hummel made a tour in Russia at the beginning of the present century, whence he again returned to Vienna in 1803, where he was offered an engagement at the court theatre, and also the appointment of kapellmeister to Prince Nicholas Esterhazy—which latter he accepted. Beethoven's Mass in C was first performed in 1810 in the prince's chapel, on which occasion Hummel made some comment on this beautiful work, which was misunderstood by its irascible composer, who took offence at it, and was at enmity in consequence with the kapellmeister until the latter, in reverence for his transcendent genius, visited him on his deathbed. Beethoven's resentment was softened by this attention, and he grasped Hummel's hand in friendship, who stood weeping beside him. In 1811 Hummel quitted the prince's service, and resided then for some time in Vienna, much engaged in teaching and in public performance. He went to Stuttgart in 1816 in the capacity of kapellmeister, and resigned this appointment in 1820 to accept the same office at Weimar, which he held, with frequent leave of absence, till his death. He made an extensive tour in 1822, in the course of which, after revisiting Petersburg, he went for the first time to Paris, where his playing excited the enthusiasm of musicians. His reception was comparatively cool, when he returned to the French capital in 1829; but he met with a cordial welcome in London, whither he came immediately afterwards. He did not long continue to play in public, and devoted himself now more particularly than before to the direction of the orchestra; and accordingly he came once more to London in 1833, as conductor of the German opera at the King's theatre. Hummel's playing was remarkable for all the best qualities of that of John Cramer—his beautiful phrasing, his full tone, his even and accurate manipulation, and the especially singing effect he drew from the pianoforte—with this addition, that he had very far greater power of execution, which gave a higher perfection to all the rest. The universal esteem in which he was held as a pianist, nay more, the popular applause his playing elicited, was a rare tribute to his merit, since his style was entirely free from those tricks which soonest win vulgar admiration; and even in his personality, with his heavy
