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Rh in a pulverized state being sometimes mixed with them. When required for use, the powder is made into a pasty mass with hot water, and is then spread upon the part to be dyed, where it is generally allowed to remain for one night. According to Lady Callcott, the flowers are often used by the Eastern women to adorn their hair. The distilled water from the flowers is used as a perfume.

 HENNEBONT, a town of western France, in the department of Morbihan, 6m. N.E. of Lorient by road. Pop. (1906) 7250. It is situated about 10 m. from the mouth of the Blavet, which divides it into two parts—the Ville Close, the medieval military town, and the Ville Neuve on the left bank and the Vieille Ville on the right bank. The Ville Close, surrounded by ramparts and entered by a massive gateway flanked by machicolated towers, consists of narrow quiet streets bordered by houses of the 16th and 17th centuries. The Ville Neuve, which lies nearer the river, developed during the 17th century and later than the Ville Close, while the Vieille Ville is older than either. The only building of architectural importance is the church of Notre-Dame de Paradis (16th century) preceded by a tower with an ornamented stone spire. There are scanty remains of the old fortress. Hennebont has a small but busy river-port accessible to vessels of 200 to 300 tons. An important foundry in the environs of the town employs 1400 work-people in the manufacture of tin-plate for sardine boxes and other purposes. Boat-building, tanning, distilling and the manufacture of earthenware, white lead and chemical manures are also carried on. Granite is worked in the neighbourhood. Hennebont is famed for the resistance which it made, under the widow of Jean de Montfort, when besieged in 1342 by the armies of Philip of Valois and Charles of Blois during the War of the Succession in Brittany (see ).

 HENNEQUIN, PHILIPPE AUGUSTE (1763–1833), French painter, was a pupil of David. He was born at Lyons in 1763, distinguished himself early by winning the “Grand Prix,” and left France for Italy. The disturbances at Rome, during the course of the Revolution, obliged him to return to Paris, where he executed the Federation of the 14th of July, and he was at work on a large design commissioned for the town-hall of Lyons, when in July 1794 he was accused before the revolutionary tribunal and thrown into prison. Hennequin escaped, only to be anew accused and imprisoned in Paris, and after running great danger of death, seems to have devoted himself thenceforth wholly to his profession. At Paris he finished the picture ordered for the municipality of Lyons, and in 1801 produced his chief work, “Orestes pursued by the Furies” (Louvre, engraved by Landon, Annales du Musée, vol. i. p. 105). He was one of the four painters who competed when in 1802 Gros carried off the official prize for a picture of the Battle of Nazareth, and in 1808 Napoleon himself ordered Hennequin to illustrate a series of scenes from his German campaigns, and commanded that his picture of the “Death of General Salomon” should be engraved. After 1815 Hennequin retired to Liége, and there, aided by subventions from the Government, carried out a large historical picture of the “Death of the Three Hundred in defence of Liége”—a sketch of which he himself engraved. In 1824 Hennequin settled at Tournay, and became director of the academy; he exhibited various works at Lille in the following year, and continued to produce actively up to the day of his death in May 1833.

HENNER, JEAN JACQUES (1829–1905), French painter, was born on the 5th of March 1829 at Dornach (Alsace). At first a pupil of Drolling and of Picot, he entered the École des Beaux-Arts in 1848, and took the Prix de Rome with a painting of “Adam and Eve finding the Body of Abel” (1858). At Rome he was guided by Flandrin, and, among other works, painted four pictures for the gallery at Colmar. He first exhibited at the Salon in 1863 a “Bather Asleep,” and subsequently contributed “Chaste Susanna” (1865); “Byblis turned into a Spring” (1867); “The Magdalene” (1878); “Portrait of M. Hayem” (1878); “Christ Entombed” (1879); “Saint Jerome” (1881); “Herodias” (1887); “A Study” (1891); “Christ in His Shroud,” and a “Portrait of Carolus-Duran” (1896); a “Portrait of Mlle Fouquier” (1897); “The Levite of the Tribe of Ephraim” (1898), for which a first-class medal was awarded to him; and “The Dream” (1900). Among other professional distinctions Henner also took a Grand Prix for painting at the Paris International Exhibition of 1900. He was made Knight of the Legion of Honour in 1873, Officer in 1878 and Commander in 1889. In 1889 he succeeded Cabanel in the Institut de France.

See E. Bricon, Psychologie d’art (Paris, 1900); C. Phillips, Art Journal (1888); F. Wedmore, Magazine of Art (1888).

HENRIETTA MARIA (1609–1666), queen of Charles I. of England, born on the 25th of November 1609, was the daughter of Henry IV. of France. When the first serious overtures for her hand were made on behalf of Charles, prince of Wales, in the spring of 1624, she was little more than fourteen years of age. Her brother, Louis XIII., only consented to the marriage on the condition that the English Roman Catholics were relieved from the operation of the penal laws. When therefore she set out for her new home in June 1625, she had already pledged the husband to whom she had been married by proxy on the 1st of May to a course of action which was certain to bring unpopularity on him as well as upon herself.

That husband was now king of England. The early years of the married life of Charles I. were most unhappy. He soon found an excuse for breaking his promise to relieve the English Catholics. His young wife was deeply offended by treatment which she naturally regarded as unhandsome. The favourite Buckingham stirred the flames of his master’s discontent. Charles in vain strove to reduce her to tame submission. After the assassination of Buckingham in 1628 the barrier between the married pair was broken down, and the bond of affection which from that moment united them was never loosened. The children of the marriage were Charles II. (b. 1630), Mary, princess of Orange (b. 1631), James II (b. 1633), Elizabeth (b. 1636) Henry, duke of Gloucester (b. 1640), and Henrietta, duchess of Orleans (b. 1644).

For some years Henrietta Maria’s chief interests lay in her young family, and in the amusements of a gay and brilliant court. She loved to be present at dramatic entertainments, and her participation in the private rehearsals of the Shepherd’s Pastoral, written by her favourite Walter Montague, probably drew down upon her the savage attack of Prynne. With political matters she hardly meddled as yet. Even her co-religionists found little aid from her till the summer of 1637. She had then recently opened a diplomatic communication with the see of Rome. She appointed an agent to reside at Rome, and a papal agent, a Scotsman named George Conn, accredited to her, was soon engaged in effecting conversions amongst the English gentry and nobility. Henrietta Maria was well pleased to become a patroness of so holy a work, especially as she was not asked to take any personal trouble in the matter. Protestant England took alarm at the proceedings of a queen who associated herself so closely with the doings of “the grim wolf with privy paw.”

When the Scottish troubles broke out, she raised money from her fellow-Catholics to support the king’s army on the borders in 1639. During the session of the Short Parliament in the spring of 1640, the queen urged the king to oppose himself to the House of Commons in defence of the Catholics. When the Long Parliament met, the Catholics were believed to be the authors and agents of every arbitrary scheme which was supposed to have entered into the plans of Strafford or Laud. Before the Long Parliament had sat for two months, the queen was urging upon the pope the duty of lending money to enable her to restore her husband’s authority. She threw herself heart and soul into the schemes for rescuing Strafford and coercing the parliament. The army plot, the scheme for using Scotland against England, and the attempt upon the five members were the fruits of her political activity.

In the next year the queen effected her passage to the Continent. In February 1643 she landed at Burlington Quay, placed herself at the head of a force of loyalists, and marched through England to join the king near Oxford. After little more than a year’s residence there, on the 3rd of April 1644, she left her husband,