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 HAZART

162

HEARSE

still a young priest he devoted himself earnestly to the study of botany and made a large collection of plants and of books, which subsequently came into the possession of the Hungarian National Jluseum. The Hungarian Academy of Sciences made him an honor- ary member in recognition of his scientific work.

A. AldXsy.

Hazart, Cornelius, controversialist, orator, and writer, b. 26 October, 1617, at Oudenarde, in the Netherlands; entered the Society of Jesus, 24 Sept., 1635; d. 25 Oct., 1690, at Antwerp. He was ordained priest, 6 April, 1647, at Louvain where he had already the reputation of Tperjeclns orator; was professed on 1 Nov., 1651; and preached during a period of thirty- six years, for a time at Dunkirk and Brussels, per- manently at Antwerp. Hazart's life, apart frorn the duties of his pastoral office, was almost exclusively taken up with the struggle against the Calvinists of the Low Countries. There were times when his ac- tivities extended beyond the frontiers of his native country, as was shown by his "Epistola ad Land- gravium Hassia>-Rheinfeldtium". This conflict was waged in part from the pulpit. He delivered at the church of the professed house, at Antwerp, a series of sermons on controverted questions, and some of these he preached even in the open market-place, before numerous Calvinists who were assembled there for the festivities held in connexion with church dedication services. His forte, however, lay rather in the domain of literary endeavour. Sommervogel enumerates about ninety writings of his, chiefly in the Dutch tongue. Among his larger systematized works it is worth while to note particularly the "Kerkelijke Historic van de gheheele wereldt " "(Universal Church History), 4 vols. (.'Vntwerp, 1667-73). This, although some- what antiquated, perhaps, as a mission and church history, remains, nevertheless, serviceable to this day; it was translated into High German and added to by other Jesuits, under the title "Kirchengeschichte, das ist katholisches Christentum, durch die ganze Welt verbreitet". \\\ of Hazart's writings are apologetic and polemical in character. They treat of Holy Mass, the Real Presence of Christ in the Blessed Sac- rament, the invocation of the saints, the force of good works, auricular confession, extreme unction, purga- tory, idolatry, the primacy and infaUibility of the pope, the Roman Catechism, in short, of all those questions which, owing to the attacks of preachers, had become of more special present interest and con- cern. Next to Holy Writ, Hazart looked preferably to the Fathers of the first four centuries for his proofs. He was quick at refutation and showed him- self a tactician of the highest order, but had the faults of the polemical writers of those tumultuous times. In the case of Schuler he contented himself with a "Vriendelyke t'saemen-spraek tuschen D. Joannes Schuler Predicant tot Breda ende P. C. Hazart" (X friendly colloquy between John Schuler, preacher of Breda, and P. C. Hazart). The estimation in which his books were held may be gleaned from the num- ber of their new editions and of their translations into the German, from the retorts of his opponents, and from the fact that many of his writings, such as "Triomph der pausen van Roomen" (Triumph of the Roman Pontiffs), gave rise to voluminous liter- ature.

SoMMEBVOGEL, BibUolhique de la Compagnie de Jisus, IV, 181-97.

N. SCHEID.

Healy, George Peter Alex.\xder, an American portrait and historical painter, b. at Boston, 15 July, 1808; d. at Chicago, 14 June, 1894. His father was an Irish captain m the merchant marine, and "the Celtic strain ran bright and lovable through the tem- perament of the son" (Isham). The eldest of five

children, Healy, early left fatherless, helped to sup- port his mother. When sixteen years of age he began drawing, and at once was fired with the ambition to be an artist. Miss Stuart, daughter of the American painter, aided him in every way, loaned him a Guido's " Ecce Homo ' ', which he copied in colour and sold to a country priest. Later, she introduced him to Sully, by whose advice Healy profited much, and gratefully repaid Sully in the days of the latter's adversity. At eighteen, Healy began painting portraits, and was soon very successful. In 1834, he went to Europe, leaving his mother well provided for, and remained abroad sixteen years, during which he studied with Baron Gros, came under the pervading influence of Couture, painted .assiduously, and won ( 1840) a third class medal in the Salon. His "Franklin urging the Claims of the Colonists before Louis XVI " gained him a second-class gold medal at the Paris International Exhibition of 1855. This year, also, saw him in Chi- cago, where he remained until 1869, when he again visited the Continent, painting steadily, chiefly in Rome and Paris, for twenty one years. His final re- turn to Chicago was in 1892. Healy painted more portraits than any other American artist, and of more eminent men than any other arti.st in the world. Among his sitters were Pius IX (1871), Lincoln, Grant (1878), Cardinal McCloskey, Louis Philippe ("his royal patron"). Marshal Soult, Web.ster, Calhoun, Hawthorne, Prescott, Longfellow, LLszt, Ganibetta, Thiers, Lord Lyons, and the Princess (now the queen) of Rumania. In one large historical work, " Web- ster's Reply to Hayne" (1851), now in Faneuil Hall, Boston, there are one hundred and thirty portraits. Healy was remarkably facile, enterprising, courage- ous, and industrious. " All my days are spent in my painting room" (Reminiscences). His style, essen- tially French, was sound, his colour fine, his drawing correct and his management of light and shade excel- lent. His likenesses, firm in outline, solidly painted, and with later glazings, are emphatic, rugged, and forceful. Healy was an honorary member of the National Academy of Design and wrote a delightful book: "Reminiscences of a Portrait Painter".

Among his principal works are : Lincoln (Corcoran Gallery), Bishop (later Cardinal) McCloskey (bishop's residence, Albany), Guizot (1S41, in Smithsonian In- stitution), Audubon (1838, Boston Soc. Nat. Hist.), Comte de Paris (Met. Mus. of Art, New York).

Isham, The History oi American Painting (New York, lOO.**); TucKERMAN, Book of the Artists (New York, 1867); Clement AND HuTTON, Artists of the XIX Cent. (Boston, 1880); Healv, Reminiscences of a Portrait Painter (Chicago, 1894).

Leigh Hunt.

Healy, John. See Tuam, Archdiocese of.

Hearse, The Tenebr.e, is the triangular candle- stick used in the Tenebrse service. The name is de- rived, through the French herse, from the Latin herpex, which means a harrow, and is the same as that now used in connexion with funeral processions. The fimeral hearse was originally a wooden or metal frame- work, which stood over the bier or coffin and sup- ported the pall. It was provided with numerous prickets to hold burning tapers, and, owing to the resemblance of these prickets to the spikes or teeth of a harrow, was called a hearse. Later on, the word was applied, not only to the construction above the coffin, but to any receptacle in which the coffin was placed. Thus it came to denote the vehicle in which the dead are carried to the grave. Likewise in the case of the TenebrEB hearse, the term was employed because the prickets were supposed to resemble the teeth of a harrow. The triangular candlestick for the Tenebrae dates back at least as far as the seventh century, being mentioned in anordo of that period published by Ma- billon. The number of candles, however, has varied at different times and in different places. Thus Amala- rius of Metz speaks of a hearse of twenty-four candles;