Page:EB1911 - Volume 12.djvu/925

 Library contains four volumes of his Miscellaneous Theological Works (1847–1850). The best of them are his Practical Catechism, first published in 1644; his Paraphrase and Annotations on the New Testament; and an incomplete work of a similar nature on the Old Testament. His Life, a delightful piece of biography, written by Bishop Fell, and prefixed to the collected Works, has been reprinted in vol. iv. of Wordsworth’s Ecclesiastical Biography. See also Life of Henry Hammond, by G. G. Perry.

HAMMOND, a city of Lake county, Indiana, U.S.A., about 18 m. S.E. of the business centre of Chicago, on the Grand Calumet river. Pop. (1890), 5428; (1900) 12,376, of whom 3156 were foreign-born; (1910, census) 20,925. It is served by no fewer than eight railways approaching Chicago from the east, and by several belt lines. As far as its industries are concerned, it is a part of Chicago, to which fact it owes its rapid growth and its extensive manufacturing establishments, which include slaughtering and packing houses, iron and steel works, chemical works, piano, wagon and carriage factories, printing establishments, flour and starch mills, glue works, breweries and distilleries. In 1900 Hammond was the principal slaughtering and meat-packing centre of the state, but subsequently a large establishment removed from the city, and Hammond’s total factory product (all industries) decreased from $25,070,551 in 1900 to $7,671,203 in 1905; after 1905 there was renewed growth in the city’s manufacturing interests. It has a good water-supply system which is owned by the city. Hammond was first settled about 1868, was named in honour of Abram A. Hammond (acting governor of the state in 1860–1861) and was chartered as a city in 1883.

 HAMON, JEAN LOUIS (1821–1874), French painter, was born at Plouha on the 5th of May 1821. At an early age he was intended for 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 Plouha for Paris—his sole resources being a pension of five hundred francs, granted him for one year only by the municipality of his native town. At Paris Hamon received valuable counsels and encouragement from Delaroche and Gleyre, and in 1848 he made his appearance at the Salon with “Le Tombeau du Christ” (Musée de Marseille), and a decorative work, “Dessus de Porte.” The works which he exhibited in 1849—“Une Affiche romaine,” “L’Égalité au sérail,” and “Perroquet jasant avec deux jeunes filles”—obtained no marked success. Hamon was therefore content to accept a place in the manufactory of Sèvres, but an enamelled casket by his hand having attracted notice at the London 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, turned the tide of his fortune, and “Ma sœur n’y est pas” (purchased by the emperor) obtained for its author a third-class medal 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 honour. In the following year he was absent in the East, but in 1857 he reappeared with “Boutique à quatre sous,” “Papillon enchaîné,” “Cantharide esclave,” “Dévideuses,” &c., in all ten pictures; “L’Amour en visite” was contributed to the Salon of 1859, and “Vierge de Lesbos,” “Tutelle,” “La Volière,” “L’Escamoteur” and “La Sœur aînée” were all seen in 1861. Hamon now spent some time in Italy, chiefly at Capri, whence in 1864 he sent to Paris “L’Aurore” and “Un Jour de fiançailles.” The influence of Italy was also evident in “Les Muses à 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 Promenade” 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.

HAMPDEN, HENRY BOUVERIE WILLIAM BRAND, (1812–1892), speaker of the House of Commons, was the second son of the 21st Baron Dacre, and descended from John Hampden, the patriot, in the female line; the barony of Dacre devolved on him in 1890, after he had been created Viscount Hampden in 1884. He entered parliament as a Liberal in 1852, and for some time was chief whip of his party. In 1872 he was elected speaker, and retained this post till February 1884. It fell to him to deal with the systematic obstruction of the Irish Nationalist party, and his speakership is memorable for his action on the 2nd of February 1881 in refusing further debate on W. E. Forster’s Coercion Bill—a step which led to the formal introduction of the closure into parliamentary procedure. He died on the 14th of March 1892, being succeeded as 2nd viscount by his son (b. 1841), who was governor of New South Wales, 1895–1899.

HAMPDEN, JOHN (c. 1595–1643), English statesman, the eldest son of William Hampden, of Great Hampden in Buckinghamshire, a descendant of a very ancient family of that place, said to have been established there before the Conquest, and of Elizabeth, second daughter of Sir Henry Cromwell, and aunt of Oliver, the future protector, was born about the year 1595. 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. He was educated at the grammar school at Thame, and on the 30th of March 1610 became a commoner of Magdalen College at Oxford. In 1613 he was admitted a student of the Inner Temple. He first sat in parliament for the borough of Grampound in 1621, representing later Wendover in the first three parliaments of Charles I., Buckinghamshire in the Short Parliament of 1640, and Wendover again in the Long Parliament. 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 earlier 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 ship-money. 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 these first parliaments 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 Buckingham. 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 gatehouse, 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 unobtrusive assistance to his leaders.

When the breach came in 1629 Hampden is found in epistolary correspondence with the imprisoned Eliot, discussing with him the prospects of the Massachusetts colony, or rendering