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 and North Berwick. The shire is under school-board jurisdiction, and besides high schools at Haddington and North Berwick, some of the elementary schools earn grants for higher education. The county council spends a proportion of the “residue” grant in supporting short courses of instruction in technical subjects (chiefly agriculture), in experiments in the feeding of cattle and the growing of crops, and in defraying the travelling expenses of technical students.

History.—Of the Celts, who were probably the earliest inhabitants, traces are found in a few place names and circular camps (in the parishes of Garvald and Whittinghame) and hill forts (in the parish of Bolton). After the Roman occupation, of which few traces remain, the district formed part of the Saxon kingdom of Northumbria until 1018, when it was joined to Scotland by Malcolm II. It was comparatively prosperous till the wars of Bruce and Baliol, but from that period down to the union of the kingdoms it suffered from its nearness to the Border and from civil strife. The last battles fought in the county were those of Dunbar (1650) and Prestonpans (1745).

 HADDOCK (Gadus aeglefinus), a fish which differs from the cod in having the mental barbel very short, the first anal fin with 22 to 25 rays, instead of 17 to 20, and the lateral line dark instead of whitish; it has a large blackish spot above each pectoral fin—associated in legend with the marks of St Peter’s finger and thumb, the haddock being supposed to be the fish from whose mouth he took the tribute-money. It attains to a weight of 15 ℔. and is one of the most valuable food fishes of Europe, both fresh and smoked, the “finnan haddie” of Scotland being famous. It is common round the British and Irish coasts, and generally distributed along the shores of the North Sea, extending across the Atlantic to the coast of North America.

 HADDON HALL, one of the most famous ancient mansions in England. It lies on the left bank of the river Wye, 2 m. S.E. of Bakewell in Derbyshire. It is not now used as a residence, but the fabric is maintained in order. The building is of stone and oblong in form, and encloses two quadrangles separated by the great banqueting-hall and adjoining chambers. The greater part is of two storeys, and surmounted by battlements. To the south and south-east lie terraced gardens, and the south front of the eastern quadrangle is occupied by the splendid ball-room or long gallery. At the south-west corner of the mansion is the chapel; at the north-east the Peveril tower. The periods of building represented are as follows. Norman work appears in the chapel (which also served as a church for the neighbouring villagers), also in certain fundamental parts of the fabric, notably the Peveril tower. There are Early English and later additions to the chapel; the banqueting-hall, with the great kitchen adjacent to it, and part of the Peveril tower are of the 14th century. The eastern range of rooms, including the state-room, are of the 15th century; the western and north-western parts were built shortly after 1500. The ball-room is of early 17th-century construction, and the terraces and gardens were laid out at this time. A large number of interesting contemporary fittings are preserved, especially in the banqueting-hall and kitchen; and many of the rooms are adorned with tapestries of the 16th and 17th centuries, some of which came from the famous works at Mortlake in Surrey.

A Roman altar was found and is preserved here, but no trace of Roman inhabitants has been discovered. Haddon was a manor which before the Conquest and at the time of the Domesday Survey belonged to the king, but was granted by William the Conqueror to William Peverel, whose son, another William Peverel, forfeited it for treason on the accession of Henry II. Before that time, however, the manor of Haddon had been granted to the family of Avenell, who continued to hold it until one William Avenell died without male issue and his property was divided between his two daughters and heirs, one of whom married Richard Vernon, whose successors acquired the other half of the manor in the reign of Edward III. Sir George Vernon, who died in 1561, was known as the “King of the Peak” on account of his hospitality. His daughter Dorothy married John Manners, second son of the earl of Rutland, who is said to have lived for some time in the woods round Haddon Hall, disguised as a gamekeeper, until he persuaded Dorothy to elope with him. On Sir George’s death without male issue Haddon passed to John Manners and Dorothy, who lived in the Hall. Their grandson John Manners succeeded to the title of earl of Rutland in 1641, and the duke of Rutland is still lord of the manor.

 HADEN, SIR FRANCIS SEYMOUR (1818–1910), English surgeon and etcher, was born in London on the 16th of September 1818, his father, Charles Thomas Haden, being a well-known doctor and amateur of music. He was educated at University College school and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842. Besides his many-sided activities in the scientific world, during a busy and distinguished career as a surgeon, he followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but was the principal cause of its revival in England. By his strenuous efforts and perseverance, aided by the secretarial ability of Sir W. R. Drake, he founded the Royal Society of Painter-Etchers and Engravers. As president he ruled the destinies of that society with a strong hand from its first beginnings in 1880. In 1843–1844, with his friends Duval, Le Cannes and Col. Guibout, he had travelled in Italy and made his first sketches from nature. Haden attended no art school and had no art teachers, but in 1845, 1846, 1847 and 1848 he studied portfolios of prints belonging to an old second-hand dealer named Love, who had a shop in Bunhill Row, the old Quaker quarter of London. These portfolios he would carry home, and arranging the prints in chronological order, he studied the works of the great original engravers, Dürer, Lucas van Leyden and Rembrandt. These studies, besides influencing his original work, led to his important monograph on the etched work of Rembrandt. By lecture and book, and with the aid of the memorable exhibition at the Burlington Fine Arts Club in 1877, he endeavoured to give a just idea of Rembrandt’s work, separating the true from the false, and giving altogether a nobler idea of the master’s mind by taking away from the list of his works many dull and unseemly plates that had long been included in the lists. His reasons are founded upon the results of a study of the master’s works in chronological order, and are clearly expressed in his monograph, The Etched Work of Rembrandt critically reconsidered, privately printed in 1877, and in The Etched Work of Rembrandt True and False (1895). Notwithstanding all this study of the old masters of his art, Haden’s own plates are perhaps more individual than any artist’s, and are particularly noticeable for a fine original treatment of landscape subjects, free and open in line, clear and well divided in mass, and full of a noble and dignified style of his own. Even when working from a picture his personality dominates the plate, as for example in the large plate he etched after J. M. W. Turner’s “Calais Pier,” which is a classical example of what interpretative work can do in black and white. Of his original plates, more than 250 in number, one of the most notable was the large “Breaking up of the Agamemnon.” An early plate, rare and most beautiful, is “Thames Fisherman.” “Mytton Hall” is broad in treatment, and a fine rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. “Sub Tegmine” was etched in Greenwich Park in 1859; and “Early Morning—Richmond,” full of the poetry and freshness of the hour, was done, the artist has said, actually at sunrise. One of the rarest and most beautiful of his plates is “A By-Road in Tipperary”; “Combe Bottom” is another; and “Shere Mill Pond” (both the small study and the larger plate), “Sunset in