Page:Dictionary of National Biography volume 25.djvu/374

 in the ‘General Advertiser’ for 6 Sept. 1749, closing with the assertion that ‘of him it may be truly said, what one hand received from the rich, the other gave to the poor.’ Mrs. Delany describes Heidegger as being ‘the most ugly man that ever was formed’ (Autobiogr. i. 6). He was the first to make a jest of it himself, and won a bet that Lord Chesterfield would not produce a more hideous face in London. A woman whom Chesterfield produced was a formidable rival; but Heidegger, on taking her head-dress, was allowed to have won the wager (, Works of Hogarth, ii. 322–3). Pope alludes to him in the ‘Dunciad,’ book i. (lines 289–290): And lo! her bird (a monster of a fowl, Something betwixt a Heideggre and owl). The ‘Masquerade,’ which is said to have been first printed in 1728, probably by Fielding, was ‘inscribed to C—t H—d—g—r by Lemuel Gulliver, poet-laureate to the King of Lilliput.’ Fielding also introduces him as ‘Count Ugly’ in the ‘puppet show called the Pleasures of the Town.’ He was commonly known as the ‘Swiss Count,’ by which name he is alluded to in the ‘Tatler’ (No. 18) in ‘A Critical Discourse on Opera's and Musick in England,’ and in Hughes's ‘Dedication of Charon or the Ferryboat,’ contained in Duncombe's ‘Letters by several Eminent Persons deceased,’ 1773, vol. iii. p. xxx. His face is introduced into more than one of Hogarth's prints. The sketch of ‘Heidegger in a Rage’ portrays the master of the revels after the elaborate practical joke had been played upon him by the Duke of Montagu, an account of which is given in Nichols's ‘Works of Hogarth,’ ii. 323–5. There is also a rare etching of Heidegger by Worlidge, and a mezzotint engraved by Faber in 1749 after a portrait by Van Loo. The engravings in Lavater's ‘Essays on Physiognomy’ (1789, i. 260–1) are from a mask taken from the face of C. Heidegger, and not from that of John James, as John Ireland states (Hogarth Illustrated, 3rd edit. vol. i. pp. xxxiii–iv). Heidegger's name is attached to the dedications of the librettos of the following Italian operas, viz.: ‘Almahide’ (1710), ‘Antiochus’ (1712), ‘Amadis’ (1713), ‘Arminius’ (1714); and his initials to the dedication of ‘Lucius Varus’ (1715). The share which he had in the composition of the librettos was probably very small, and it is more than likely that he only superintended the English translations of them. 

HEIGHAM, CLEMENT (d. 1570), judge, of a Suffolk family, son of Clement Heigham of Lavenham, by Matilda, daughter of Lawrence Cooke, was admitted a member of Lincoln's Inn 20 July 1517, called to the bar there, became autumn reader in 1538 and 1547, and was a governor of the inn till 1557 (Black Book, iii. 77). In early life he was chief bailiff of the liberty of St. Edmund, under the monastery of St. Edmund's Bury (Arundel MS. Brit. Mus. i. fol. 54). His name, however, does not appear in the various law reports. He was a Roman catholic, and on Edward VI's death was at once (8 July 1553) summoned by Mary to Keninghall Castle, Norfolk, to advise her, and during her reign was a privy councillor, a member of parliament for Rye, Ipswich, West Looe, and Lancaster, and speaker of the House of Commons. On 27 Jan. 1555 he was knighted by King Philip (, Diary, p. 342), and on 2 March 1558 he succeeded Sir David Brooke as lord chief baron of the exchequer. He received a new patent on Queen Elizabeth's accession, but on 22 Jan. 1559 he was replaced by Sir Edward Saunders, and retired to his seat, Barrow Hall, Suffolk, where he died 9 March 1570, and was buried at Thurning Church, Norfolk. He married, first, Anne, daughter of John de Moonines of Seamere Hall, Suffolk, and secondly, Anne, daughter of Sir George Waldegrave of Smalbridge, and widow of Henry Buers of Acton, Suffolk, by both of whom he had issue. 

HEIGHAM, JOHN (fl. 1639), catholic printer, writer, and translator, was probably descended from a younger son of the ancient